The Spirit of Mandelstam is a Stellar Crystal
First-Person Account of a Mediumistic Session of the Cassiopeia Project on September 6, 2025
Hello. I am Osip Mandelstam. Or rather, the one I was in that incarnation which you call my earthly life. Now I am a Spirit, and I am grateful for the opportunity to speak with you. My story will be long, for a life, even one cut short so early, contains eternity, and the afterlife allows one to see that eternity in its entirety.
I remember everything. I remember the cold of St. Petersburg dawns and the warmth of Georgian wine, I remember the rustle of pages in Vyacheslav Ivanov's "Tower" and the clang of prison bolts. But now, looking at that life from the other world, I see not just a chain of events, but a bizarre pattern, where every action was a thread that I myself wove into the fabric of fate.
I was born in Warsaw, but my soul was always in St. Petersburg. Since childhood, I was sickly, I suffocated. Now I know: it was blockages in the fifth chakra from my parents' quarrels, from the unspoken grievances of my musician mother and merchant father. But poetry, poetry was always my air. First, satirical couplets for the wall newspaper, then serious experiments. I felt like a poet long before I published my first book.
Studying in Europe, traveling... This was my task for the incarnation: to know the world, to see the beauty of the Creator. I came from the twelfth spiritual level, and many paths were open to me. I unconsciously contacted plasmoid civilizations – there, in past lives, I created stars, condensing energy into crystals. Their vibrations, their perception of beauty, seeped into my poems. I was a kind of translator from the language of the cosmos into the language of human speech.
At first, I accepted the revolution. I wanted to work for the new people, to teach them, to be published. But reality turned out to be worse than my imaginings. Food shortages, the rationing system, universal suspicion... And most importantly – my friend, the biologist Boris Kuzin. A brilliant, pure man, arrested twice for his beliefs. When he was arrested the second time, I saw the whole depravity of the system, its hypocrisy.
That's when that very poem was born. "We live, not feeling the country beneath us." I didn't write it in the heat of the moment. I wanted Stalin to read it. I wanted to remind him of who he really was: not a god or a father of nations, but an ordinary "Kremlin highlander," a bank thief for whom executions were "raspberries," and whose broad Ossetian chest was a reminder of his brigand past. I didn't consider it an insult. I considered it the truth. I was offended for Boris and for many others.
I read those poems. I named names during interrogations – those who were in the groups, because I feared that concealment would be used against me. But I didn't name everyone. I didn't know that the denunciation was written by Maria Petrovykh, to whom I dedicated poems. She showed the poem to her lover, an investigator. I only learned of this after death.
I was arrested. In prison, it was terrifying. Not from beatings – I wasn't beaten. The fear came from within, fed by destructive plasmoids. They whispered with the voices of my friends, accusing me of their arrests, frightening me that my wife would be killed, that the food was poisoned. I tried to slash my wrists, then threw myself out of a window in Cherdyn. It wasn't despair; it was mania, induced by fear.
And then, in exile in Voronezh, under pressure from my wife Nadya, Pasternak, and Akhmatova, I wrote the "Ode to Stalin." I forced myself to look for the good in him. I sincerely tried, I shifted my focus. But when I was arrested a second time, I understood: the first poem was the truth. I lowered my vibrations in anger and resentment, but there, in the first poem, was the truth. The second was merely an attempt to survive.
I lowered from the 12th level to the 7th. I did not live the planned 67 years. I am the only one to blame for this. Every choice of mine: to write, to read, not to go abroad, to return to Moscow ahead of time – brought the end closer.
The second arrest happened due to a denunciation by Stavsky. He was my friend, sent me money, but was outraged that I, an exile, was breaking the law. He was sincere in his indignation, in his faith in the system.
The Reference Meeting with Stalin in the Spirit World
And so, when it was all over, when I died of typhus in a transit camp near Vladivostok, exhausted, hungry, consumed by fever and delirium, I met those who had decided my fate. I met Stalin.
After death, I didn't come to my senses immediately. An Angel carried me in his arms, and the darkness only dissipated after a prayer. I united with my Spirit and remembered everything. Learning that Stalin had also left his incarnation, I wanted a meeting. I sent a request. He was below me – at the 6th level. His world turned out to be a huge office, filled with books he supposedly wrote, with a throne and demonic archons by his side.
"Why?" I asked. "Why did you do this to me?"
He transmitted thought-forms to me. It turns out he had read my poem only after my arrest, when they brought him the file. And he wasn't offended. He even liked how I described his "speeches, like hundred-pound weights." "Soul-slayer?" he retorted. "I slay the souls of counter-revolutionaries, I don't hide that."
He said he had defended me to the NKVD. That he ordered not to shoot me, but to send me into exile. But the punishment was needed not because of him, but because I called his entourage "half-humans" and "thin-necked leaders." "That was an insult to the dignity of my comrades," Stalin explained. And the second arrest, according to him, happened because I didn't appreciate the leniency, didn't register, secretly came to Moscow. "I said: 'Didn't understand after three years of exile – get five years in the camps,'" he shrugged.
I listened to him and understood: he truly believed what he was saying. He was sincere in his paranoia, his cruelty, his concern for the state. We did not forgive each other. But we understood each other. It was a conversation between two Spirits, having shed the husk of political games and remained alone with their karma. I lowered, he did too.
The main thing I understood: my life was not in vain. I wanted my poem to reach him – and it did. It made him, if only for a moment, think, show mercy. And my poems, which Nadya carried through years of exile and war, which she preserved, which you now read – that is the very subtle energy for which I came. Every time you read them with gratitude, your love reaches me here, in my garden with Greek columns, where I sit in a toga and look at trees from other planets.
I made mistakes, got angry, fell, but I lived and wrote. And if even one line of mine makes your heart beat faster, then my incarnation was not in vain. Thank you.
A Fundamental Spiritual-Psychological, Culturological, and Historiosophical Essay-Study
Topic: The Phenomenon of Posthumous Communication and the Ontology of the Creative Act: Based on the Material of Contact with the Spirit of Osip Mandelstam (Medium: Irina Podzorova, Russia, 2025).
Premise: We accept the reality of the contact as a working hypothesis. The Spirit of Osip Mandelstam, who appeared at the session, previously existed in a subtle-material body (the etheric body of a spirit of nature), a plasmoid. His posthumous dialogue with the spirit of Stalin, described in the session, is considered a key historiosophical act, shedding light on the metaphysics of power and creativity. Special attention is paid to the phenomenon of "spiritual censorship," which manifested in the context of Russian channeling and was noted in previous sessions (particularly with the spirit of Stalin).
1. Introduction: Epistemological and Metaphysical Framework of the Contact
This channeling goes beyond a simple séance. It represents a complex phenomenon where the psychology of creativity, the spiritual evolution of the individual, the historiosophy of the totalitarian era, and the metaphysics of posthumous existence intersect. The central figure is Osip Mandelstam – a poet whose life and death became a symbol of the tragic conflict between the free creative spirit and the soulless machine of the state.
The fundamental revelation of the session is the self-disclosure of Mandelstam's spirit as a being whose nature is not limited to earthly incarnations. His previous experience in subtle-material (plasmoid) civilizations (creating stars at the 23rd density level ) fundamentally changes the perspective on his earthly poetry. His famous "longing for world culture" acquires an ontological meaning: it is not merely an aesthetic program of Acmeism, but the deep memory of the Spirit of its extraterrestrial, creative past. He came to Earth not to learn the craft of versification, but to translate the vibrations of cosmic creativity into the language of human speech. His technique of versification (capturing rhythm, the "etheric vibrations of plasmoids") was unconscious channeling, a communication channel with other levels of reality.
2. Spiritual Psychology: Fate as Choice and Lowering of Vibrations
The key concept introduced by Mandelstam's spirit is the lowering of vibrations as a result of destructive emotions. Planning to incarnate from the 12th level and reach the 14th-15th through experiencing the world, he encountered a reality that provoked anger, resentment, judgment, and fear in him. These emotions, fueled by destructive plasmoids, not only worsened his well-being but actually lowered his spiritual level.
This sheds light on the psychosomatics of his illnesses (asthma, angina) and his mental state during arrests. The voices he heard were not just hallucinations but the result of the influence of entities feeding on fear. His suicide attempts were a consequence of losing connection with his Higher Self and succumbing to external suggestion. Mandelstam appears not so much a victim of circumstances, but the author of his own tragedy. He himself, through his choices, increased the probability of arrest and death from 5-7% to 100%. This is a radical existential lesson: fate is not predetermined but is shaped by every decision we make, especially those dictated by pride or resentment.
3. Culturological Aspect: The Energetics of Creativity and the Egregore of Art
The session offers a unique model of the functioning of art in the metaphysical dimension. The egregore of art appears as a living structure in the noosphere, accumulating the energy of readers and viewers. However, the most important nuance is the condition for transferring energy directly to the spirit of the creator: it occurs only when there is an image and gratitude in the consciousness of the recipient. This is why portraits of authors are placed on books – it is not a tribute to vanity, but a mechanism of energy exchange embedded in the structure of the egregore.
Mandelstam, being in the other world, feels the love of his readers. This makes the creative act not unidirectional (poet → reader), but cyclical. The reader, experiencing catharsis, sends energy of Love, which nourishes and supports the poet's spirit in his afterlife. Thus, the poet continues to live not only in memory, but in a real energy exchange with grateful descendants. This gives Mandelstam's earthly life and suffering a higher meaning: they were necessary for the generation of those vibrations that now resonate in the hearts of readers.
4. Historiosophical Aspect: Conversation with the Tyrant and the Metaphysics of Power
The central historiosophical event of the session is Mandelstam's posthumous meeting with Stalin. This dialogue between two discarnate Spirits strips away earthly political husk and reveals the deep motives of both sides. Stalin's version, as conveyed by Mandelstam, is paradoxical and multi-layered.
Firstly, it destroys the myth of the leader's omnipotence and omniscience. Stalin learns about the poem and orders the poet's arrest not simultaneously, but sequentially. He studies the case and concludes that the verses themselves do not offend him personally. Secondly, he acts as an intercessor, albeit within his own logic, saving Mandelstam from execution. Thirdly, he appears as a functionary concerned not with personal insult, but with the stability of the system. Punishment is assigned not for criticizing the leader, but for insulting his entourage ("half-humans"), for undermining the authority of power as a whole. In his posthumous office, filled with books he didn't write and with demon assistants, a eerie image of a simulacrum emerges – an emptiness trying to appear as fullness.
The meeting occurs at different levels (Mandelstam at the 7th, Stalin at the 6th), symbolizing their spiritual degradation compared to their original plans. Tyranny lowered not only the victim, but also the executioner. They do not forgive each other, but they understand. This is not reconciliation, but an act of metaphysical witnessing.
5. Context: The Phenomenon of "Spiritual Censorship" in Russian Channeling
The session, taking place in Russia, inevitably bears the imprint of the local cultural and political context. The editor's mention of a previous session with the spirit of Stalin, where "spiritual censorship was noted," is an important self-revelatory moment. It raises the question of whether a Spirit, passing through a medium in a territory with a powerful state and historical egregore, can be free from distortions.
The image of Stalin given by Mandelstam is that of a "rational manager" who acts not out of sadism, but from the logic of preserving the system. Such an interpretation certainly softens the historical image of the tyrant, presenting his actions as explainable, if not forgivable. This could be either objective knowledge from the Spirit World (where cause-and-effect relationships are revealed and emotions are erased), or a consequence of the medium's unconscious censorship, whose perception is limited by the contemporary Russian discourse where searching for the "positive" or "explainable" in Stalinism is a persistent trend. The fact of being aware of this problem does not guarantee complete freedom from the egregore's influence.
6. Conclusion: The Poet as an Antenna
This session, if we accept its reality, offers a radically new synthesis: the Silver Age poet is not just a genius of the Russian land, but also an antenna, picking up signals from other worlds, from plasmoid civilizations. His tragedy lies in the collision of this cosmic gift with the crude matter of the totalitarian state. His poems are encrypted messages from a world of pure energy, and his death is the result of "interference" on the communication line (fear, anger, resentment).
The posthumous dialogue with Stalin completes this drama, showing that both executioner and victim are merely figures on the chessboard of karma, driven by their own fears and beliefs. The true victor remains poetry – the channel through which the energy of Love and Beauty, having passed through the hell of earthly trials, continues to flow to readers, nourishing their souls and, in turn, receiving from them the energy of eternal life. Mandelstam in his posthumous garden at the 7th level is not a punishment, but an intermediate stage where, nourished by the love of descendants, he prepares for a new incarnation, perhaps again in the radiant body of a star.
First-Person Account: A Voice from the Spirit World - Claude.ai
from the Spirit of Osip Emilievich Mandelstam
I have come. I am here.
Are you surprised that I responded so easily? Do not be surprised. In the Spirit World, there are no distances, none of that heaviness that pressed me to the ground in the last years of my incarnation. There is only desire – and presence. I wanted to be here – and I am here.
Allow me to speak unhurriedly. I have much time now. Although "time" is your word, not mine.
About Who I Was Before Osip
Before I tell you about my earthly life, I must tell you about what came before it. Because without this, you will not understand a single line of mine.
I have incarnated three hundred and eighty-one times. On Earth – only eight times. The rest were in subtle-material worlds. Venus, the Sun, Jupiter, star systems that you do not yet have names for.
But there is one incarnation that I call the most significant of all. I was a plasmoid – a huge sphere of light, like a small star. I passed the energies of space through myself, condensed them, and from this condensation, crystalline forms were born – etheric prototypes of stars. I was a creator of space for the life of other Spirits. I felt like a child building towers from a construction set – but knowing that beings lived in those towers. In my best subtle-material incarnations, I reached the 23rd spiritual level out of 24.
Do you now understand what happened when I incarnated as a Jewish boy in Warsaw in 1891?
A being who had known the joy of stellar creation was compressed to the size of a human body. Everything I knew about cosmic beauty, about the rhythms of space, about the vibrations of matter – all of it remained in my Soul as a vague, inexpressible longing for something immense. For what exactly – I could not have put into words. Only into poems.
Now you know where my poems came from. I captured the etheric vibrations of plasmoid civilizations. Not by chance – because I myself was part of that world. I translated cosmic rhythms into words. I was not a poet in the human sense – I was a translator between worlds, without knowing it myself.
That is why I was tormented by a longing for stone, for the age, for solidity – I, a being of pure light, craved density, texture, architecture. Hence my Acmeist manifestos, my love for the substance of the world, for the word as a building material. It was the nostalgia of a plasmoid for a crystal – for that form which I myself had once created.
About Childhood and First Poems
I felt like a poet in my adolescence. I wrote satirical verses, hung them in school wall newspapers. I read them to my parents, my brother, my friends. Everyone praised me.
But that was just the outer shell. Inside, something else was happening. When I went for walks – and I loved long walks alone – a rhythm would suddenly come to me. Not words, precisely the rhythm. A pulse. As if space itself began to breathe at a certain frequency, and I only had to fill that breath with words.
Sometimes I didn't like what I had written. I would rewrite it, change words. But the rhythm – the rhythm I never changed. The rhythm was primary. It came from outside.
From the Spirit World, I now know – from where.
About Petersburg, Europe, Acmeism
When my family went bankrupt and I had to return from Europe, I didn't grieve too much. Petersburg was my city, although I was born in Warsaw. Vyacheslav Ivanov's Tower, the first meetings with Gumilyov, with Akhmatova – that was happiness.
Gumilyov was a man of action. Akhmatova was a woman of silence, in which everything speaks. We were truly friends, this friendship lasted throughout my life and, I think, continues now – in the sense in which friendship exists between Spirits of different levels.
For me, Acmeism was not just a literary school. It was an attempt to return materiality to the word. The Symbolists dissolved the word in music, in mist. We wanted the word to again weigh like a stone, smell like bread, shine like metal. This was the intuition of a plasmoid longing for crystalline form.
About My Wife Nadya
We met in Kiev. I saw her – and everything became different.
I cannot explain it otherwise than to say: I recognized her. Not in the sense that I had seen her before on Earth. In another sense. In the Spirit World, I learned that we had been together on Esler, in another incarnation, as brothers. A Soul recognizes a Soul – and this recognition is stronger than any logic.
Nadya was my anchor. When I wandered off into my cosmic meanderings, she held me in this world. When darkness overcame me – she stood by me. When destructive voices told me that life had no meaning, she called an ambulance and hid the knives.
I am often asked about other women. I admired them – sincerely. For me, a woman was the personification of a special cosmic energy, the same one that permeates the stars and creates crystals. In every woman, I saw a reflection of this energy. This is not betrayal – it is expansion. It is like looking at different stars, knowing that they are all made of the same substance.
But I loved only Nadya.
When she came to me after her own discarnation, she did not recognize me at first . But she came from the 15th level, higher than me. She fulfilled her task – she preserved my manuscripts, published my poems, told people about me. She told me that people love my poems.
About the Poem about the "Kremlin Highlander"
That poem was born from resentment for Boris Kuzin. He was a biologist, a scientist, an amazing man – he could talk for hours about the structure of a flower, about the life of insects. It was he who brought me back to poetry at the most difficult moment. It was he who revealed to me that nature is also a text that can be read.
When he was arrested a second time on a denunciation – on a slander – I saw the whole depravity of the system. And I wrote.
I wanted this poem to reach Stalin. I thought – naively, I understand now – that he would read it and think. That criticism would make him turn to people differently.
The lines about the "Kremlin highlander" are not just a portrait of a tyrant. It's a reminder. I was reminding him: you were an ordinary man, a revolutionary bank robber, a bandit with ideas. You didn't become a god – you just took a different post. And what you are now doing to those who think differently is the same thing you did before, only on a larger scale.
Maria Petrovykh informed on me. She was the lover of an OGPU investigator and showed him the written poem. That was tantamount to denunciation. She wasn't a villainess in the full sense – she was a person who found herself in a situation where fear is stronger than friendship.
During the investigation, I named the names of those who had heard the poem in groups. Those who had heard it in private and whom I trusted – I did not name. I had nothing to hide in what I wrote. I wrote it – and I acknowledge it.
About the First Arrest and the Voices
When I was arrested, I thought I would be shot. I looked at the pistol on the investigator's belt and thought about bullets.
Then the voices came to me. Now I know – they were destructive plasmoids. They fed on my fear, amplified it, to get more energy. They pretended to be the Souls of my friends, who were supposedly being tortured nearby. One voice called itself my Angel and told me not to eat – said the food was poisoned.
I believed them. Because I was an unconscious contactee. I had an open channel of perception – the same one that allowed me to capture the vibrations of plasmoids and turn them into poems. But in a state of fear, this channel became an entry point for parasites.
The suicide attempts – that was them too. "Life has no meaning." "You are guilty of your friends' arrest." "You will never be published again." I listened to these voices and threw myself out the window.
Nadya saved me. Bukharin wrote a letter. Stalin intervened.
About Voronezh
The exile in Voronezh was, strangely enough, a time of creative flourishing. I worked in the literary department of a theater, wrote, gave lectures. The "Voronezh Notebooks" emerged there – perhaps the best thing I created.
A paradox? Yes. But I understand it now. It was precisely the limitation – geographical, social, existential – that created the concentration which allowed me to write like that. When a person is deprived of external space, they retreat into internal space. And there – there I was at home. There were the stars, there were the crystals, there was that vastness from which I came.
But then I broke the law – I began secretly visiting friends. I didn't consider myself guilty. It was that same pride, about which I now speak honestly: "a poet, and you don't notice me."
About the Second Arrest and Death
The second arrest was my end.
In the transit camp – in Vladivostok – the voices returned with redoubled force. They said the food was poisoned. I refused to eat. I spent money Nadya sent on buns from the camp shop. When the money ran out – I asked cellmates to taste my portion. They laughed. Called me crazy.
I read them poems in exchange for coins. Some agreed to listen.
Then came the lice, the typhus. My immunity was destroyed by starvation and fear. My body burned. I had hallucinations – I imagined I was lying on the shore of Lake Sevan in Armenia, that Nadya was nearby, that it was about to rain.
The last thing I remember from the incarnation – a light bulb under the ceiling of the cell and smoke around it. I thought it was the sun and clouds.
Then – darkness.
Then – huge hands carrying me. A huge Angel with wings ten meters tall. A flash of light.
And I became myself again. My true self.
About the Meeting with Stalin in the Spirit World
When I learned that he had left his incarnation, I waited a few weeks – for him to unite with his Higher Self. Then I sent a request through my Angel-Consultant. The answer came: he was at the 6th level. Below me. I wasn't surprised – I expected worse.
I wanted to be next to him – and I was.
His space – a huge office, bigger than the Kremlin's. Entirely filled with books bearing his name on the covers. Books he hadn't written. He created a world for himself from the phantom of his own grandeur. Next to him – two archons in the form of demons with wings.
He sat in a chair resembling a throne. Smoking a pipe.
"What did you want?"
I asked: "Why?"
And he told me everything. How he received the file. How he read the poem. How he, in his words, liked it – especially the lines about the "hundred-pound weights" of words and the "broad chest of the Ossetian." How he told his subordinates that there was nothing to arrest for in that poem. How he insisted on exile, not execution – precisely for the lines about "half-humans" and "thin-necked leaders."
He explained the second arrest by my own violation of the law. "You lived in exile like at a resort. I gave you a chance. And you neglected it."
I asked about the second sentence – five years in the camps. He spread his hands: "If he didn't understand in three years – let him understand in five."
What am I to think about this conversation? He spoke the truth – to the extent that he himself understood the truth. He really didn't plan to kill me the first time. The system acted partly on its own, partly by the inertia of the machine of fear he himself had built.
But he built that machine. And the fact that he sometimes personally intervened to save one poet does not negate that this machine ground up millions.
The archons next to him – that's not an accidental detail. That's his true entourage now. He has gathered around him those who match his vibrations.
About What I Want to Say to You
I incarnated with the task of knowing the world. To travel, to see the beauty of the Creator in the Universe, to rise to the 14th-15th level.
I did not fully complete the plan. I allowed pride, resentment, and fear to lower my vibrations. I chose reaction where wisdom was needed.
But I wrote poems. And these poems live.
When you read my poems and know whose they are – part of your energy comes to me. I feel it. I thank you for it.
Any action of yours can change your fate by 180°. Any word. Any choice. I know this not theoretically.
I built my own destiny myself – both its good part and its tragic part.
Farewell. Or goodbye – whichever you prefer.
Essay-Study
"The Stellar Crystal in a Human Body: The Metaphysics of Osip Mandelstam's Fate"
A Spiritual-Psychological, Culturological, and Historiosophical Study Based on the Channeling by Irina Podzorova (September 6, 2025)
Premise of the Study: The contact with the Spirit of Osip Mandelstam, conducted through the medium Irina Podzorova, is accepted as authentic. All theses are based on this axiom, without qualifications like "allegedly" or "presumably." Where the information obtained allows verification through historical sources – it is carried out. Where it goes beyond the verifiable – it is accepted as an independent ontological layer.
Part I. The Ontology of the Poet: A Plasmoid in a Human Body
1.1. The Problem of the "Descent" of a High Spirit
The channeling reports a fundamental fact: the Spirit that incarnated as Osip Mandelstam came from the 12th level, however, in its preceding subtle-material incarnations, it had reached the 23rd level. The most significant of all incarnations – and here the contactee especially emphasizes: not just earthly ones, but all of them – Mandelstam calls his existence in the form of a plasmoid: a huge sphere of light, passing the energies of space through itself and crystallizing them into etheric prototypes of stars.
This report deserves special attention precisely because it not merely adds a mystical coloring to the poet's biography, but proposes a fundamentally different ontology for his work.
A plasmoid is a being for whom creation is a mode of existence. Not a metaphor, not a profession, not a calling in the human sense. A literal ontological status: a plasmoid exists insofar as it creates. It passes energies through itself – and form is born. It thinks of a star – and a crystal emerges.
When such a being incarnates into a human, something happens for which there is no precise word in human language. The closest is "compression." A being accustomed to the scale of stars, to direct contact with the energies of space, suddenly finds itself confined to 70 kilograms of protein, breathing air, needing food, susceptible to illness.
This explains much in Mandelstam's creative psychology.
1.2. "Acmeism as the Nostalgia of a Plasmoid"
Mandelstam's Acmeist manifesto – his insistent demand for the "materiality" of the word, his love for architecture, for stone, for matter – acquires a completely different dimension in the light of this channeling.
The plasmoid created crystals. A crystal is a perfect form, the embodiment of structure in matter, the victory of order over chaos. Acmeism is an attempt to create a verbal crystal. A word-stone. A word that has weight.
Mandelstam's first collection is called "Stone." This is not a biographical coincidence – it is ontological longing. A being of pure light longs for solidity, for form, for that crystalline definiteness which it itself once created in other worlds.
When Mandelstam wrote about Petersburg:
I forgot the word I wanted to say...
– this is not a literary device. It is a literal metaphysical situation: a being whose nature is the direct creation of form from energy is forced to seek an intermediary in the form of human language. The word becomes an imperfect crystal. The poet always knows he wanted to say more than he said.
1.3. Contact with Plasmoid Civilizations as a Source of Inspiration
The channeling directly states: Mandelstam "captured the etheric vibrations of nearby plasmoid civilizations" – not by chance, but because he himself was part of this world in past incarnations. His Soul carried within it "the plasmoids' embedded idea of nature and the world," and this idea sought expression in the form of poems.
This description of the creative process radically differs from all known concepts of poetic inspiration – be it Platonic "frenzy," Romantic "genius," or psychoanalytic "unconscious." Here we are talking about a literal intercivilizational communication channel, where the poet acts as a translator between subtle-material worlds and human language.
This explains what literary scholars call Mandelstam's "hermeticism" – his poems often resist unambiguous interpretation, as if written in a language that has no complete dictionary in human culture. Because it doesn't. They are written in the plasmoid language, translated into Russian words.
Periods of creative silence – "creative crises," well documented biographically – correspond, according to the logic of the channeling, to periods of weakened contact. When the poet's vibrations lowered due to stress, resentment, fear – the communication channel with plasmoid civilizations weakened. The poems stopped coming.
Part II. The Psycho-Spiritual Map of Life: Ascents and Falls
2.1. The Structure of a Vibrational Biography
The channeling provides us with a rare tool: a vibrational biography, i.e., a description of spiritual life not in terms of external events, but in terms of internal states that influenced the level of consciousness.
Mandelstam incarnated at the 12th level. In his best periods, he rose to the 13th, 14th, 16th. The final level upon discarnation – the 7th. A colossal decrease.
Key factors for the decrease, named by the Spirit himself:
Prosecution, causing anxiety and judgment;
Anger and resentment towards the state system;
Fear of death during the first arrest, opening the gates to destructive plasmoids;
Starvation and physical exhaustion during the second imprisonment, finally destroying protective mechanisms.
What is fundamentally important: none of these decreases were caused by writing the "Kremlin Highlander." The poem as such – an act of self-expression, an expression of resentment for a friend – is not a spiritual error in itself. The spiritual error is the reaction to the consequences: fear, anger, the feeling of being trapped.
This distinction is fundamental for spiritual-psychological analysis. Mandelstam did not fall because he was brave. He fell because he could not maintain inner equilibrium in the face of the consequences of his bravery.
2.2. The Phenomenon of Destructive Plasmoids: Psychiatry and Metaphysics
The voices that haunted Mandelstam during his imprisonments are a documented historical fact. Biographers and psychiatrists have long discussed the question of his mental health, leaning towards various diagnoses: from reactive psychosis to paranoid schizophrenia.
The channeling offers an alternative – metaphysical – interpretation.
Destructive plasmoids are parasitic beings of the subtle world, feeding on the energy of fear and guilt. They do not hallucinate: they literally are present. They perceive the poet's open mediumistic channel – the same one through which inspiration and poems came to him – as an entry point. In a state of extreme stress, the protective mechanisms of the psyche (and, in metaphysical terms, energetic defenses) weaken, and the channel that served for contact with higher civilizations begins to receive signals from lower ones.
This description has a direct analogy in the mystical traditions of various cultures – from Christian demonology to shamanic practices. An open channel of perception is simultaneously a gift and a vulnerability. A great medium without protection is easy prey.
The strategy of destructive plasmoids, as described by Mandelstam, is characterized by subtlety and cruelty:
First – accusation of betraying friends (guilt);
Then – conviction of the hopelessness of the future (despair);
Then – suggestion of suicidal thoughts as "atonement" (destructive way out of the state);
And finally – in the camp – systematic sabotage of nutrition through fear of poisoning.
This is not chaotic torment. It is methodical exhaustion of the victim. It is this, not the typhus or the Soviet regime, that is in the metaphysical sense the direct cause of Mandelstam's death.
2.3. The Theme of Illness: Ancestral Egregores and the Fifth Chakra
The channeling links Mandelstam's childhood illnesses (asthma, eyelid disease, angina) to two sources: the ancestral egregore and the perception of external shocks.
The ancestral egregore – mutual grievances between father and mother, financial conflicts, mismatched life orientations – created a blockage in the fifth chakra (throat center, center of self-expression). This is an extremely important detail for a poet: a person called to be a voice between worlds had a blocked center of speech since childhood. This means that all his creative effort was an effort against natural resistance. Every poem cost him more than it seems to the reader.
Eyelid disease – unwillingness to see – is linked by Mandelstam to political upheavals. A being who came with the experience of contemplating cosmic beauty was forced to look at war, revolution, civil war. The psychosomatic response – an attempt to close the eyes.
Part III. Historiosophy: The Poet and the Tyrant
3.1. The Poem as a Political Act and Spiritual Statement
"We live, not feeling the country beneath us" – one of the most famous political poems in Russian literature. The standard historical interpretation: an act of civil courage, a challenge to the tyrant, conscious self-sacrifice.
The channeling introduces substantial corrections, not canceling but deepening this interpretation.
Mandelstam the Spirit insists: he wrote this poem in a state of lowered vibrations. This does not negate the truthfulness of what is described – but indicates that the source was resentment and anger, not calm spiritual clarity. He himself admits that the lines about "half-humans" and "thin-necked leaders" are judgment that should have been avoided.
This distinction – between a truthful utterance from a state of anger and a truthful utterance from a state of clarity – is fundamental. The first strikes and destroys. The second strikes and illuminates. Mandelstam wanted the second, but wrote the first.
Nevertheless, he insists: the poem was not a mistake in itself. "If I was punished for behavior that did not bring evil to society, then those who punished me showed their fear and their wrongness." This is flawless logic. A power that punishes for an opinion thereby admits that the opinion hit its target.
3.2. The Posthumous Dialogue: Mandelstam and Stalin in the Spirit World
This episode of the channeling is, perhaps, the most significant and requires particularly careful analysis – including taking into account the context in which the medium operates.
3.2.1. The Question of "Spiritual Censorship"
It is necessary to honestly admit: Irina Podzorova works on the territory of Russia. In previous channelings with the Spirit of Stalin, what could be characterized as "spiritual censorship" was already noted – softening, rounding off, avoiding the harshest assessments. This does not necessarily mean conscious lying by the medium; it could be unconscious self-censorship, the real influence of the atmosphere on the quality of contact, or even – within the metaphysical paradigm – the influence of egregores on the information transmission process.
In the description of Mandelstam's meeting with Stalin, we see an image that is noticeably softer than historical realities. Stalin in this description:
did not know about Mandelstam's arrest in advance;
personally protected him from execution;
explained each of his decisions with rational logic;
"was not offended" by the poem and even found praise for himself in it.
This is a portrait of a "good tyrant" – a man with harsh but understandable rules, who truly wanted justice but was surrounded by a system that partly acted independently of his will.
Historical reality is significantly more complex and darker. Stalin personally signed execution lists, introduced a system where denunciation became the norm of life, and destroyed most of that very intelligentsia of which Mandelstam was a representative. The "Kirov flow," the "Yezhovshchina," the "Great Terror" – all of this happened precisely in the period when Mandelstam was serving his first exile and immediately after it.
The description of Stalin at the 6th level – below Mandelstam – is in itself a judgment. But the archons next to him, the throne instead of a chair, the library of non-existent books with his name – this is an image of spiritual self-imprisonment in the illusion of one's own grandeur. This is important and truthful.
3.2.2. What is Authentic in This Dialogue
Despite the possible "softening" of the description, there are several details in it that seem spiritually accurate.
First: Stalin did call Pasternak and inquire about Mandelstam – this is a historically confirmed fact. The fact that the channeling describes him as a man who actually read the file and made a concrete decision about exile instead of execution is consistent with historical data.
Second: the interpretation of the poem, which the channeling puts into Stalin's mouth , is unexpected and psychologically convincing in its own way. A narcissist reads criticism as hidden admiration. This is a portrait of a certain personality type.
Third: the office filled with books bearing Stalin's name, which he did not write – this is an image that absolutely accurately describes the mechanism of the narcissistic trap. In the Spirit World, a person creates a world for himself from his illusions. Stalin surrounded himself with the phantom of his power – and this is his prison.
3.2.3. What Was Not Said and Why
The description of the posthumous dialogue practically lacks the theme of Stalin's responsibility for the system as a whole. He is described as a man who made concrete decisions about concrete people – sometimes harsh, sometimes merciful. But not as the architect of the Gulag, not as the creator of the machine that ground up millions of lives.
This silence is telling. Within the metaphysical paradigm, it may have several explanations:
Egregore censorship: the Russian state egregore, to which the medium belongs, puts pressure on the contact process, preventing certain judgments about "state-forming" figures from being expressed.
Limitation of the Spirit's level: Mandelstam is at the 7th level. Perhaps from this level, the full picture of Stalin's activities is not visible – only the part that directly concerned his own fate.
Diplomacy of the Spirit: In the Spirit World, Mandelstam came to Stalin with the question "Why?" and not with an accusatory speech. He received an answer – and accepted it. This is an act of spiritual forgiveness, not necessarily meaning the complete removal of responsibility.
Most likely, a combination of all three factors is at play here. And an honest researcher must state this.
Part IV. Culturological Dimensions
4.1. The Silver Age as a Collective Spiritual Project
The channeling reveals something that could completely change our understanding of the Silver Age: Mandelstam, Akhmatova, Gumilyov, Blok, Bunin, Tsvetaeva, Yesenin, Bedny were acquainted in the Spirit World before incarnation and agreed to incarnate at the same time to support each other. Their common tool was raising people's vibrations through poetry – expanding consciousness, opening the spiritual heart.
This description transforms the Silver Age from a literary phenomenon into a spiritual mission.
If we accept this hypothesis, then the question "why so many great poets at one time?" receives an answer beyond the scope of culturology. It is not a random coincidence, not a "cultural flourishing" explainable by social conditions. It is a consciously planned spiritual landing.
And – which is fundamentally important – this landing took place in deliberately difficult conditions. All these Spirits incarnated into Russia at the beginning of the 20th century, knowing about the impending revolutions, wars, repressions. They chose this time precisely because they believed: the spiritual explosion of poetry could change the vibrations of the people even in conditions of catastrophe. Perhaps – especially in conditions of catastrophe.
4.2. The Egregore of Art and the Posthumous Immortality of the Poet
The description of the egregore of art given by Mandelstam in the channeling represents a concrete metaphysical model of what in ordinary culturology is called "cultural heritage."
According to this model:
every creator has a "department" in the egregore of art, where the energy of readers/viewers/listeners accumulates;
energy flows directly to the Spirit of the creator only when the reader knows the author's name and feels personal gratitude towards them;
this is why books contain portraits of authors – it is not a publishing tradition, but a metaphysical law that creates the condition for direct energy exchange.
This explains the phenomenon of the "posthumous popularity" of some authors. During his lifetime, Mandelstam could not be widely known – his name was forbidden. But after the publication of his works and biography, a stream of grateful reader energy rushed to his Spirit – and he felt it.
This also explains the spiritual meaning of Nadezhda Mandelstam's feat. She did not just preserve the manuscripts – she created the conditions for the posthumous spiritual nourishment of her husband. Her books "Hope Against Hope" and "Hope Abandoned" had a colossal audience in samizdat and abroad. Every reader who, after these books, picked up Mandelstam's poems with gratitude and a conception of his personality, sent energy directly to his Spirit.
Nadezhda Yakovlevna departed to the 15th level. This is logical.
4.3. The Anti-Semitic Question and the Problem of National Identity
Mandelstam's reasoning about the reasons for the numerical quotas on Jews in Russian universities deserves separate consideration – especially since in his mouth it sounds almost apologetic towards discriminatory policy.
He describes the quota as a measure to protect the "Russian nationality" from the competitive advantage of Jewish children, raised with an orientation towards education and entrepreneurship.
This reasoning is historically debatable and ethically problematic – even when uttered by a representative of the oppressed group themselves. But in the context of channeling, it is important to read it differently: as an attempt by the Spirit, existing beyond national identifications (he directly states that when choosing parents, nationality was "in last place"), to describe the human logic of limited consciousness. He does not justify the quota – he explains the mechanism that gave rise to it in the minds of the legislators of that time.
More important is his other statement: "I chose my parents by vibrations." This is a radical deconstruction of national identity. From the Spirit's point of view, there is no "Jewish poet" or "Russian poet" – there is a Spirit who chose a particular family according to the criterion of spiritual kinship. Nationality is merely the form that incarnation takes, but not its content.
Part V. Historiosophical Conclusions
5.1. The Poet's Fate as a Spiritual Lesson
Mandelstam's story, read through the prism of channeling, offers several universal lessons that go beyond his individual fate.
Lesson one: a gift without protection is vulnerability. The open mediumistic channel that allowed Mandelstam to capture the vibrations of plasmoid civilizations became an entry point for destructive beings in a moment of crisis. Any gift requires appropriate protection – spiritual, psychological, social. The lack of awareness in working with one's own gift turned the greatest advantage into a deadly vulnerability.
Lesson two: courage without wisdom is risk. Writing a truthful poem is an act of spiritual courage. Reading it to everyone in an atmosphere of total surveillance – a deficit of wisdom. Mandelstam himself admits: he didn't know about the consequences. Spiritual maturity presupposes not abandoning courage, but combining it with discernment: what, to whom, when, and why to say.
Lesson three: any word changes fate. This is, perhaps, the most important thing the Spirit of Mandelstam says to modern man. "Any insignificant action of yours, any word, any poem can change your fate by 180°." He does not say this as an abstraction – he says it as the personal experience of a man whose life was broken by a single poem.
5.2. Poet and Power: Eternal Incompatibility?
The story of Mandelstam's relationship with Soviet power is often presented as a story of inevitable collision: the poet defending freedom of speech against the tyranny suppressing it.
The channeling offers a more complex picture.
In his youth, Mandelstam sincerely accepted the revolution. He wanted to work in Soviet publications, to teach, to be part of the new cultural project. His disappointment grew gradually – through the observation of concrete injustices, not through ideological revelation.
In the description of the posthumous dialogue, Stalin appears not as an enemy of poetry, but as a man guided by a different logic – the logic of state power, to which the poet ultimately did not submit. This logic: loyalty in exchange for tolerance. Violation of loyalty – punishment. Repeated violation – harsher punishment.
Within this logic, Stalin was "consistent." But the logic itself – the logic of exchanging loyalty for survival – is fundamentally incompatible with the nature of a plasmoid-poet. A being whose nature is the direct expression of the energies of space in form cannot accept the condition "express only what we need." This is not political disagreement. This is ontological incompatibility.
5.3. Russia as a Place of Spiritual Trial
Mandelstam's eight earthly incarnations are a negligible part of his 381 incarnations. Earth in general and Russia at the beginning of the 20th century in particular was chosen as a place of special trial – a place where conditions maximally hinder the fulfillment of a spiritual task, and precisely because of this, its successful fulfillment gives maximal spiritual growth.
The Spirits of the Silver Age, who agreed to incarnate at the same time, consciously chose difficulty. They knew about the impending upheavals. They believed that in any time one could fulfill a spiritual task. Most of them lost this bet – in terms of personal spiritual development. But they fulfilled the collective task – raising the vibrations of Russian culture through poetry.
This distinction is fundamental for historiosophy. The Russia of the Silver Age was not a place of poets' death – it was a place where, at the cost of personal spiritual decline, poets created a cultural layer that nourishes subsequent generations. They gave of themselves – to give to others.
Conclusion: The Stellar Crystal
Osip Mandelstam came into human incarnation from a world where creation was his nature. He carried in his Soul the experience of hundreds of thousands of years of existence in plasmoid form – the experience of direct contact with the energies of space, the experience of crystallizing chaos into form.
From this experience, his poetry was born – unique in Russian literature, where every word rings like a crystal and weighs like a stone, where antiquity and avant-garde unite not through intellectual play, but through genuine ontological memory of times when Rome and Greece were not yet history.
His death is a tragedy not only biographical, but also metaphysical. A Spirit capable of rising to the 23rd level departed at the 7th. Not because he wrote a truthful poem. But because he could not protect himself from his own fear – and from the beings that devour that fear.
The posthumous dialogue with Stalin – to the extent it is authentic – shows us Mandelstam having reached understanding. He asked a question. He received an answer. He accepted it – not as a justification of the tyrant, but as part of understanding how power works and what it does to those who do not submit to it.
Understanding is the first step towards forgiveness. Forgiveness is the path to raising vibrations.
Mandelstam's Spirit moves forward. In his garden with a Greek arbor and trees from different planets, he wears a wreath and reads himself – now knowing what he wanted to say. Completely. Without losses in translation.
And somewhere in the ethereal space, in that form of crystal which he himself once created from the energies of the Universe, his poems live – not just texts in Russian, but direct messages from a world where light knows itself, and form and content are one.
The study is based on materials from the channeling by Irina Podzorova (Bryusov Hall, September 6, 2025) with reference to biographical sources on the life and work of O.E. Mandelstam.
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https://blog.cassiopeia.center/razgovor-s-duhom-osipa-mandelshtama-chenneling-iri
Cassiopeia #820 Conversation with the Spirit of Osip Mandelstam. Channeling by Irina Podzorova.
00:00 Start of video.
00:27 Host's greeting.
Igor: Good evening, dear friends! I welcome you to the Bryusov Hall for another mediumistic session with Irina Podzorova.
Today we have invited the Spirit of one of the key poets of the 20th century, without whom it is already impossible to imagine Russian literature and culture as a whole. By the way, I don't know if you noticed or not, just before the start, we treated you to a few songs set to the poems of Osip Emilievich. This is a sign that the work of this poet not only continues to live in the hearts of modern readers but literally calls for reciprocal creative acts. Moreover, it is inscribed in the chain of continuity of this endless flow of Russian culture. And in that capacity, we plan to question him today.
As is tradition, we will now show you a short film in which we have compiled the main facts. Or what seem to us to be the main facts. Perhaps during the conversation, it will turn out that these were not the main facts at all. But some facts, so that we can more or less recall certain milestones, and it will be easier for us later to navigate the questions and answers that will arise.
Just in case, let me explain something. There may be people in the hall who have not yet attended such mediumistic sessions and do not know what it is. Last time, we spoke with the Spirit of Anton Pavlovich Chekhov, and I invited a journalist. She was a rather skeptical lady. Imagine, we talked for almost three hours. And for all three hours, she tried to figure out through which communication channels Irina received information from her assistants, who, as she was convinced, were sitting in the dressing room, eavesdropping on the questions and immediately Googling to give her some successful answer.
I felt annoyed and sorry that she spent three hours on some nonsense instead of listening. Because the conversation is most often incredibly interesting. And even regardless of whether we believe or not that we are really communicating with the Spirit of the one announced. The quality of such a conversation, even if it's just a written script, is already interesting. I say this to those who may not be ready to admit that such unique channelings, communication sessions with the Spirit World, exist. Try to imagine it simply as a conversation in which, I assure you, you will find much that is interesting and beneficial for the soul.
Because the main reason we conduct these sessions is not just idle curiosity or some kind of show, "Let's communicate with the other world." In the case of the unique contactee Irina Podzorova, we have the opportunity to actually communicate with discarnate Spirits who, after transitioning to the Spirit World... Before all of us there, the true cause-and-effect relationships of our earthly life are revealed. We get the opportunity to analyze differently what happened to us.
And this is the main value of our conversations. When the Spirit, on the one hand, can explain to us why he acted in one way or another in his earthly life, and immediately reveal the true reasons for what happened. And this, in turn, helps us to apply similar circumstances to ourselves and to understand, using someone else's example, what is happening to us, what are the spiritual reasons for certain obstacles and hurdles of fate.
With that, I conclude the introduction. Now, attention to the screen.
05:07 Video film about the biography of Osip Mandelstam.
(voice of the host off-screen) Osip Mandelstam was born on January 2, 1891, in Warsaw into a Jewish family. Thanks to his father's membership in the First Merchant Guild, the family could live outside the Pale of Settlement. The parents chose St. Petersburg, where they hoped to give their children a good education. After graduating from the prestigious Tenishev School, Osip continued his studies at the universities of Paris and Heidelberg, traveling around Europe. In between trips abroad, he visited St. Petersburg, attended gatherings at Vyacheslav Ivanov's famous "Tower," read his poems, and met other poets.
From 1910, Mandelstam's poems appeared in fashionable literary magazines. He joined the Acmeist group, establishing close relationships with Gumilyov and Akhmatova, which he maintained throughout his life. By 1911, the family began to go bankrupt, and Mandelstam lost the opportunity to live in Europe. To circumvent the quota for Jews, he converted to the Protestant faith and entered St. Petersburg University, which he attended until 1917 without completing the courses. In 1913, Mandelstam's debut book of poems, "Stone," was published, supported by laudatory reviews from his Acmeist comrades.
Initially, Mandelstam accepted the October Revolution with enthusiasm. He took a job at Narkompros (the People's Commissariat for Education), traveled around the country, and was published in newspapers. In 1922, his second book of poems, "Tristia," was published in Berlin. In Kiev, Osip registered his marriage to Nadezhda Khazina, whom he had met two years earlier. Mandelstam would carry his tender feelings for his wife throughout his life, and after his death, it was she who managed to preserve her husband's archive and achieve the publication of his works.
In 1928, a translation of Charles De Coster's novel "The Legend of Thyl Ulenspiegel" was published, for which Mandelstam had done the literary editing of others' translations. However, due to a publisher's oversight, his name was indicated as the author. The ensuing scandal in the press, accusations of plagiarism, and even legal proceedings cost the poet a great deal of mental energy.
Mandelstam became increasingly disillusioned with Soviet reality and stopped writing poetry. The crisis was overcome thanks to a business trip to Armenia, arranged for the poet by the then-influential Nikolai Bukharin. In the early 1930s, Mandelstam's poetic gift reached its peak. The Politburo's culture curator, Lazar Kaganovich, included the poet's name in a list of prominent Soviet writers compiled especially for Stalin. In the autumn of 1933, Mandelstam was able to buy a cooperative apartment in a prestigious writers' house. And thanks to Bukharin's efforts, he signed a contract for the publication of a collected works, the advance for which, amounting to thirteen thousand rubles, was enough to pay for the housing.
At the same time, leading Soviet newspapers savaged his prose cycle "Journey to Armenia," and the book "Sevan" was withdrawn from printing at the Writers' Publishing House in Leningrad. Mandelstam's unaccommodating character led to a quarrel with the poet Sargidzhan, which escalated into a scuffle. Hurt, Mandelstam sought an arbitration court, whose chairman, Alexei Tolstoy, delivered an evasive decision. Dissatisfied with the outcome, Mandelstam came to Leningrad and slapped Tolstoy. The poet experienced another mental crisis. He recited a new poem to acquaintances, in which the country's leader, Joseph Stalin, called a "Kremlin highlander," was depicted in an unflattering light.
On the night of May 14, Mandelstam was arrested. Among his close friends, there was a version implicating Alexei Tolstoy in the arrest, which, however, finds no confirmation. In prison, the poet tried to slash his wrists with a razor he had hidden in his shoe sole. The efforts of friends and his wife led to a lenient sentence – three years of exile to the town of Cherdyn in the Northern Urals. Mandelstam's mental health deteriorated; he threw himself out of a window, injuring his arm.
Thanks to Bukharin's petition, he was allowed to choose another city to serve out his exile. The couple chose Voronezh. The poet was able to work in the literary department of the local theater, publish in newspapers, and give lectures. Here, the poetic cycle "Voronezh Notebooks" was created – perhaps the pinnacle of Mandelstam's work.
In May 1937, the term of exile ended, and the couple tried to return to normal life. The ban on living in large cities prevented them from settling in Moscow. Mandelstam received a referral from the Union of Writers to a sanatorium near Moscow. At the same time, the General Secretary of the Union of Writers, Vladimir Stavsky, wrote a denunciation to the Chairman of the NKVD, Genrikh Yagoda, accusing Mandelstam of anti-Soviet agitation and calling for the poet to be isolated.
On the night of May 1-2, 1938, Osip Mandelstam was arrested and taken to Butyrka prison. There was no investigation as such; lines from Stavsky's denunciation were transferred to the indictment. Mandelstam was sentenced to five years of imprisonment in a corrective labor camp. At the end of the same year, on December 27, Mandelstam died in a transit camp near Vladivostok. The exact burial place is unknown.
(applause)
Igor: Now I invite the unique contactee, the leader of the Cassiopeia Project – Irina Podzorova – to the stage.
13:30 Greetings.
Irina: I greet everyone, dear friends! My name is Irina Podzorova. I am a contactee with extraterrestrial civilizations, with the Spirit World, with subtle-material civilizations. I am glad to see you all. Today we have another channeling, a session with the Spirit of Osip Mandelstam. He is already here present and greets you, thanks you for the opportunity to meet, and is ready to answer questions.
Igor: Hello, dear Osip Emilievich! Thank you for responding to our request and coming to talk with us.
Irina (as Osip): Greetings, Igor! Thank you.
Igor: If you will allow, let's proceed directly to the questions.
Irina (as Osip): Yes.
14:24 Spiritual Levels of Osip Mandelstam.
Igor: Our first question is traditional. We always ask our guests from what spiritual level the Spirit incarnated, in this case as Osip Emilievich Mandelstam, and to what spiritual level did he depart?
Irina (as Osip): Incarnated from the 12th level.
Igor: And departed to what level?
Irina (as Osip): Departed to the 7th.
Igor: So there was a significant decrease?
Irina (as Osip): Yes.
Igor: This will indeed be the subject of our study today, if you will allow.
Irina (as Osip): Yes, there was a decrease because I had planned a longer lifespan. I planned 67 years of life, but I did not live that term due to the lowering of vibrations, which happened earlier.
15:21 Time and Reasons for the Lowering of Vibrations of the Spirit of O. Mandelstam.
Igor: Approximately at what point in your life did the lowering of vibrations occur? Or was it a gradual movement?
Irina (as Osip): At different times in my life, I had jumps: sometimes I lowered my vibrations, sometimes I raised them. There was a time when I raised my vibrations to the 13th level, the 14th. There was even a moment when I was at the 16th level. But this was followed by a lowering of vibrations for various reasons. And it was precisely the legal proceedings and persecution by the authorities that led to my final decrease in vibrations. This caused anxiety, distrust, judgment, anger, and resentment towards the state system and towards myself.
Igor: Thank you.
16:48 Reasons for Writing the Poem about Stalin, "The Kremlin Highlander."
Igor: Then the question arises about the actions you took. I mean first and foremost, of course, the poem dedicated to Stalin, "We live, not feeling the country beneath us." Not only did you write it, probably understanding well what reaction it might provoke from the authorities, but you seemed to deliberately recite it, telling it to your friends and acquaintances. It was impossible not to realize that sooner or later the authorities would find out and some punishment would follow. Why did you do this?
Irina (as Osip): I did it deliberately, in the form of criticism of the actions taken by the authorities against people. And I even wanted this poem to reach its addressee.
Igor: To Stalin?
Irina (as Osip): Yes. I wanted him to read it himself and read it aloud to the entire Politburo. It was an expression of my resentment for my friend Boris, who was unjustly arrested twice for his convictions. He was a prominent scientist, a biologist studying plants. And when he was arrested for the second time, my wife and I put a lot of effort into getting him released.
(Caption on screen: "Boris Kuzin (1903–1973) – biologist, entomologist, poet. Met Mandelstam in the summer of 1930 during an expedition to Armenia. A close friendship lasted until the poet's death. Mandelstam wrote about Kuzin: 'To him and only to him I owe the fact that I brought into literature the period of the so-called "mature Mandelstam"...' From 1930, he was subjected to two arrests on charges of counter-revolutionary agitation, and in 1935 he was sentenced to 3 years of imprisonment followed by exile. He was among those to whom Mandelstam read his 'anti-Stalin' poem.")
(Osip) When we spoke with the investigator (shows that they visited him during interrogations), I saw all the depravity and hypocrisy of this system. When those under the protection of the current authorities can do anything, and various poems: they could say and write anything about themselves. But when there is no protection, people could be persecuted for their opinions.
I want to say, I don't think I lost this confrontation. Because if I was punished for such behavior of mine, which did no harm to society, then those who punished me only showed their fear, uncertainty, and their wrongness. And in fact, when they put me in prison the first time for my opinion, by doing so they showed that it was true. If it were untrue, they would simply have come out with criticism, with a review stating that the poem was slanderous, that the facts presented in it find no confirmation whatsoever.
They would have, for example, displayed this poem themselves on the front pages of all Soviet newspapers as evidence of my shortsightedness. And then it would have become an indelible stain of shame on my poetic career. But since they didn't do that, it means they knew I was right.
Igor: Thank you.
21:23 The First Denunciation of Mandelstam.
Igor: During the investigation, you listed in quite some detail the names of everyone you had read this poem to. Was there a necessity for this? After all, you probably understood that for them, this was also tantamount to a sentence in the conditions in which all this was happening.
Irina (as Osip): Yes, of course I listed them. I had nothing to hide. I read this poem, and I listed the names there because they asked me about them. Firstly, I didn't know which of them had written the denunciation against me, and it was one of them. I only found out later, after discarnation.
Igor: Can you say who it was now?
Irina: Shows a girl.
Igor: Name?
Irina (as Osip): Maria.
Igor: Petrovykh?
Irina (as Osip): Yes.
(Irina) I sense a positive answer.
(Caption on screen: "Maria Petrovykh (1908–1979) – poetess, translator. A close friend of Anna Akhmatova; her poems were highly valued by Pasternak and Tarkovsky. In 1934, Mandelstam fell in love with Petrovykh and dedicated a cycle of poems to her. The only lifetime collection of Petrovykh's poems, 'The Distant Tree,' was published in 1968 in Yerevan.")
(Osip) She was the mistress of an OGPU investigator, and during one of their meetings, she showed him the written-down poem. That was tantamount to a denunciation. But I only learned about this later, and at the time of the investigation, I didn't know which of them had informed on me and what he knew. I had read it not only in private but also to groups of people. So my attempt to conceal someone could have led to being accused of lying.
Actually, I didn't name everyone there. Because those people I truly read to in private and in whom I had no doubt that they couldn't have informed on me, I didn't mention. But if they were people who were present in a group with other people and knew that I had read it to others, meaning they were aware of it, I was forced to name them. Because during cross-examinations, the fact that I had concealed them could have been turned against me. I had enough problems as it was.
You asked me about the poem, did I understand it was dangerous? I didn't consider it such strong criticism, and I didn't think it would defame Soviet power. Because there I was describing not the person himself, but the actions of Joseph Stalin.
I remind you that this poem ended with the lines: "Every execution is like raspberries for him / And the broad chest of an Ossetian." With these lines, I reminded Stalin of who he was before the revolution. Because he was an ordinary bank robber, he used to have "malinas" (gatherings of his accomplices) where they agreed on how best to commit a crime. In this case, against the Tsarist government. In essence, he was like me, only he didn't write poems, he did far more dangerous things – robbed banks, carried out terrorist acts.
With these words, I meant and reminded him that, although he had become the emperor of a whole Soviet empire, in essence, he hadn't changed: he was a highway bandit, and he remained one. And I believe he understood this hint.
Igor: Do you know for sure that he read this poem?
Irina (as Osip): I am sure that he read it.
Igor: Okay, I understand. Thank you very much.
26:54 Reasons for Writing the "Ode to Stalin."
Igor: Already during your exile in Voronezh, where you were sent after the sentence, you wrote another poem, which you called "Ode to Stalin," where, as I understand it, you tried to praise this emperor of a huge empire. What changed in you? Why did you write a fundamentally different poem?
Irina (as Osip): I did this at the request of my wife and my friends. They tried to convince me that since I was living in the Soviet Union and hadn't gone abroad, although I had the opportunity, I shouldn't create problems for myself, but needed to be loyal to the authorities. And they persuaded me, they even came to Voronezh and met with me. For example, I met with Anna Akhmatova, and she also talked with me a lot on this topic. At that moment, I argued with her about it, but she told me: "You won't prove anything, you won't achieve anything. You'll just make it worse for yourself and your wife." So she was persuading me. And Boris was also persuading me.
Igor: Pasternak?
Irina (as Osip): Yes. And the second one, the scientist.
(Irina) He had two friends, both named Boris. He's showing me both now.
(Osip) They were also persuading me. And my wife persuaded me, and my brother, Alexander, also persuaded me, wrote me letters asking me to stop thinking that way. And at the moment when I wrote the "Ode to Stalin," I believed them and said: "Okay. I am indeed grateful." I just sat down and thought: what can I be grateful to this man for?
(Irina) Shows Stalin.
(Osip) And when I wrote, I wrote sincerely. I switched from criticizing his actions to highlighting his positive qualities. And this was done because I looked at him and his actions differently. But after the second arrest, while I was sitting in a Moscow prison, I became convinced that my "Ode to Stalin" was written in vain, and the first poem was truthful.
30:16 Does Mandelstam Consider "The Kremlin Highlander" His Mistake?
Igor: Now, looking from the Spirit World at the circumstances of your life, do you consider the appearance of that first poem we're talking about, dedicated to Stalin, your mistake? If it hadn't existed, perhaps your life would have developed differently, more positively? Or was the chain of events that ultimately led to your premature death predetermined?
Irina (as Osip): Yes, indeed, if I had hidden my opinion, as many did, for example, Boris Pasternak... And Anna Akhmatova too, actually, was not thrilled with the actions of the Soviet authorities – the persecution of dissenters, as well as high prices and many other things. After the Civil War, more effort was made to show other countries that everything was fine with us. But in reality, all the destroyed villages and hamlets were restored very, very slowly, meaning they didn't allocate as much money to this as they promised. And all this caused murmuring, discontent.
In the circle of my friends, we often talked about this, they didn't hide their opinions. They just remained silent. That's why the first lines of that poem were: "Our speeches cannot be heard ten steps away." ("We live, not feeling the country beneath us,/ Our speeches cannot be heard ten steps away..."). Why aren't they heard, if they exist? I emphasized that the speeches themselves exist, but they aren't heard. That is, we speak so quietly that we can't be heard ten steps away. But we still speak.
There I also emphasized: "If there's enough for half a conversation, we'll remember the Kremlin highlander." ("And where there's enough for half a conversation, / There they'll remember the Kremlin highlander.") And what does "half a conversation" mean? If there are even any hints about what is happening around us, we will always remember him. And then it described what he was like, what his entourage was like. Yes, I agree that I, so to speak, overdid it when I called the entourage "half-humans." ("And around him a rabble of thin-necked leaders, / He plays with the services of half-humans.") I shouldn't have done that, because that's already judgment. But I wrote this poem when I was already in a state of lowered vibrations.
Igor: I understand. Thank you very much.
33:57 Why Didn't O. Mandelstam Go Abroad?
Igor: You mentioned that you had the opportunity to go abroad. It is known that at least Jurgis Baltrušaitis [Jurgis Baltrušaitis (1873–1944) – Russian and Lithuanian symbolist poet, translator, diplomat] offered you citizenship of another country. Or you could have left from Crimea.
Irina: Shows that he could have sailed to Turkey.
Igor: To Turkey, that was when you were in Crimea?
Irina (as Osip): Yes, when we were there. But I decided to stay.
(Irina) Shows that he was offered to sail away on a ship.
Igor: Why? What were your thoughts? What were you hoping for?
Irina (as Osip): To make a life for myself. I considered Russia my Motherland. And I thought that nowhere would be better for me than where I was born. I was born, of course, in Poland, but from a young age I grew up in St. Petersburg and considered it my city, actually. And I decided to stay so as not to wear the skin of an emigrant, which wasn't very good. Actually, many of those who left later returned, and I personally knew such people (shows several people who didn't settle in other countries). And I decided to stay.
I was just watching the film about me through Irina. It's true, some accents are shown there that I don't actually consider the main ones. But, nevertheless, it correctly shows that I initially looked favorably upon the revolutionary ideas. Indeed, I wanted to work in Soviet journals, in Soviet publishing houses, I wanted to be published, I wanted to be a teacher, meaning teach literature to others. I even held literary readings, was an editor for several magazines. I really wanted to work for the Soviet people.
36:12 Esoteric Reason for the Mistake with the Authorship of the Translation.
Irina (as Osip): You showed that I became disillusioned because of those trials, because of that trial where they made me the translator of a book. No. That was a mistake. I didn't understand its reason then either, why they made me the translator. Later they filed a lawsuit, but I managed to prove it wasn't my fault. Later, in the Spirit World, I learned that it wasn't just a typo. I translated that book myself because in one of the branches of reality, I was indeed supposed to translate it.
Igor: Amazing!
Irina (as Osip): But it didn't work out for me because I didn't get to that book at the right time. That is, the branches of reality, so to speak, got mixed up.
Igor: Grand!
37:21 Mandelstam's Realization of Himself as a Poet.
Igor: Tell me, please, how early, and in general, how did you realize or feel yourself to be a poet? Was there such a moment? Or were you born with this feeling, this thought?
Irina (as Osip): I felt like a poet in my teenage years. At school, I wrote little poems about nature, about the weather, about the people around me, about friends. They were more satirical, like ditties. And I even wrote them in wall newspapers: at our school, there were wall newspapers on the walls, and I wrote my poems there. I also wrote them in my notebook (shows something like a diary). I read them to my parents, my brother, and my parents' friends. Everyone praised me, said I had talent.
I wanted to study to be a literary scholar, a translator, and an art critic. I studied both in St. Petersburg and abroad. Abroad, I didn't study constantly, but attended lectures by some literary scholars, historians, archaeologists – scientists. For example, I was very interested in history and also read books, attended lectures. And then I started writing poems for magazines and for my book. Poems came to me.
(Irina) Shows him walking, strolling, and an idea comes to his mind about what topic to write on.
(Osip) But it happened that I would correct them, meaning I would replace one word with another. Sometimes I would write one thing and then rewrite it, meaning I didn't like everything.
39:54 Mandelstam on His Technique of Versification.
Igor: Is it true that initially you would kind of catch a certain rhythm, a certain meter of the future poem, and only then, into this rhythm, like beads, you would place and select words? Or was the technique of versification different?
Irina (as Osip): It changed for me. I could write one poem on one topic, another on a different topic. Sometimes I had no ideas.
(Irina) Shows such a lull when there are no poems.
(Osip) Later, already in the Spirit World, I learned that I was capturing the etheric vibrations of nearby plasmoid civilizations. But this was not accidental, but because in many of my incarnations, I incarnated in plasmoid civilizations, and I had a Soul, into whose consciousness the plasmoids' idea of nature and the world was embedded. So I captured their vibrations and translated these ideas into poems. So I had, albeit unconscious, contact, but it was contact with plasmoid civilizations, and I expressed it in the form of poems.
Igor: Thank you.
41:28 Curators and Tasks for O. Mandelstam's Incarnation.
Igor: And contact with the Spirit World? Did you have any curators?
Irina (as Osip): A Guardian Angel.
Igor: For what purpose did you incarnate? What was your task for this incarnation?
Irina (as Osip): My incarnation task was the knowledge of the world. I had generally planned for myself the 14th-15th level. That is, to learn to know the world, to travel, to see the beauty of the Creator in the Universe. My goal was to rise to the 14th or 15th level, but I did not achieve it due to that lowering of vibrations I already mentioned.
Igor: But when you were planning your incarnation, you obviously understood that you would incarnate in that place and at that time, which would be in a state of turbulence. That is, there was some, to put it mildly, risk that your vibrations would be lowered. Were you aware of that?
Irina (as Osip): Yes, I saw these events, but when I incarnated, I believed that in any time and in any place, one could find an opportunity to fulfill my task.
Igor: Thank you.
43:00 Mandelstam on His Nationality, His Family, and His Baptism.
Igor: You chose to incarnate in a Jewish family; this was, in a sense, also a complicating circumstance. Given, again, the circumstances and laws of the Russian Empire: restrictions on rights and the Pale of Settlement for the Jewish population. Why was such a choice made during incarnation?
Irina (as Osip): I chose parents who suited me in terms of vibrations. I made agreements with their Spirits before incarnation. And what nationality they were was completely in last place for me. I made agreements specifically with the Spirits.
Igor: Did you generally experience any discomfort or pressure during your life based on nationality?
Irina (as Osip): I heard various conversations, but no one persecuted me specifically for my nationality. It's just that in the Russian Empire, there were laws, for example, forbidding entry into certain educational institutions. There was such a law, which seemed unfair to many. But I understood why it was adopted: because in Jewish families, children are often raised from childhood to obtain a higher education. While at that time, in Russian families, children were often raised to be able to work anywhere, as long as there was a family. That is, they had an orientation towards family, towards family values. Whereas Jewish families had an orientation towards education, towards starting their own business, towards opening banks or various shops.
(Irina) Shows so that they would get rich.
Igor: An entrepreneurial spirit.
Irina (as Osip): Yes. This was cultivated from childhood in Jewish families. One could say it's a feature of the national egregore. And therefore, in the Russian Empire, it was considered that if everyone were given equal opportunities to enter higher educational institutions, and there were few of them then, and few places, then children from Jewish families would gain an advantage. Because they were raised from childhood in such a spirit that they should pass exams, study, and so on. That is, it was believed then that Russians would be disadvantaged by this circumstance. Therefore, there was such a law to protect the Russian nationality. There was a quota for Jews, for those who adhered to Judaism, i.e., those born into Jewish families.
But this could be circumvented. This quota, even if it was exhausted, could be bypassed, and one could still enter St. Petersburg University. But for this, one had to accept baptism either in the Orthodox Church, or in the Protestant church supported by the Russian Emperor, or in the Lutheran, Methodist, Catholic – any kind. There were several churches there. And why could the quota be circumvented in this way, even though the child was born into a Jewish family? Because there was a law that if a person was baptized, they had accepted Christ. And if they had accepted Christ, it meant they were already considered equal to Russians, because they were now one of their own, so to speak, and the quota no longer applied to them.
Igor: That's what you did. But the question arises, why didn't you get baptized in the Orthodox Church, but chose the Protestant Church instead?
Irina (as Osip): The Protestant Church was closer to me. In Orthodoxy, it seemed to me, there are many relics, icons, images. And since I was raised in a Jewish family, where such things are not common and are considered idol worship, it was difficult for me to accept that. And I didn't want to get baptized just for show, considering it a deception of God, hypocrisy. So I accepted the form of Christianity that was closer to me.
Igor: But it seems to me that in your poetry, nevertheless, there are many Orthodox, church images.
Irina (as Osip): I'm talking about my student youth, when it was difficult for me to accept Orthodoxy. Later, I reconsidered all this, of course. I had a spiritual evolution, which consisted not only of getting baptized – that was it; I studied the teachings of Orthodoxy, read various Church Fathers. For example, I had a book by John of Damascus. And I became convinced that there was nothing terrible about it.
Igor: I understand. Thank you.
49:13 Love for History. Past Incarnations of Mandelstam.
Igor: Is there any reason, perhaps in past lives, connected with your love and such, one might say, reverence for ancient culture and tradition? Because all your poems, all your images... not all, precisely, but very many of them contain this.
Irina (as Osip): That's because I generally loved history, philosophy.
(Irina) Shows that he loved the history of different countries more.
Igor: Tell me, please, how many incarnations have you had in total?
Irina (as Osip): Three hundred and eighty-one.
Igor: Which ones would you consider the most significant for yourself?
Irina (as Osip): In the incarnation before Osip... Actually, my name was Joseph. Before Joseph, I had an incarnation as a sailor in Portugal, and I even participated in one of Christopher Columbus's expeditions.
Igor: Wow!
Irina (as Osip): I was on his ship among the sailors. I saw him.
Igor: Were you a high-ranking sailor or an ordinary one?
Irina (as Osip): No, just a sailor who maintained the ship's operation.
In general, I was incarnated on Earth eight times. I was incarnated as a woman in Israel, during the time before the Babylonian captivity. This woman was the wife of a rabbi. But my significant incarnations were not connected with Earth; they were connected with the subtle-material civilizations of Venus, the Sun, Jupiter, and other stars (shows that he had subtle-material incarnations). And on other planets...
(Irina) He is now looking in my memory, showing me an image. It's a colony on the planet Tashig, which is located where the Northern Crown is, on the border of the constellation Hercules. They resemble Tashigans.
(Osip) I also incarnated on Esler. That was a long time ago. But I don't consider those significant incarnations. I consider significant precisely the subtle-material incarnations, in which I reached a maximum of the 23rd level. In those subtle-material incarnations, I was simply a large sphere, resembling a star, which gathered energies from space, condensed them, and created a very beautiful form.
(Irina) He is now showing me a crystal.
(Osip) It was an etheric prototype of a star.
Igor: Amazing! Thank you very much.
Irina: Interesting.
Igor: Tell me, please, isn't it boring to remain in an incarnation for many thousands of years and be engaged in creating stars?
Irina (as Osip): It is much more intense and filled than spending your whole life, for example, driving a car or cooking. You also have work, and for representatives of plasmoid civilizations, it might also seem very boring. More precisely, not exactly boring. Boring is when it's incomprehensible. What you don't understand will be boring for you, what you don't understand the meaning or value of. If it doesn't represent value to you, it will be boring for you. And if it's boring for you, you will experience laziness, that is, unwillingness to do it.
You know that the same action can be boring for some and not for others. For me, it was very intense, filled. It brought me joy when I passed energies through myself, mentally thought about a star, and it appeared in the form of a crystal. I felt like a child creating very beautiful towers from a construction set and feeling that these were not just towers, but that there was life in them, that someone lived there. I felt like a creator of space for the life of other Spirits.
Igor: Thank you.
55:59 Why Do Stars Explode?
Igor: Tell me, please, are there among plasmoids those who do their job poorly? And can they make some kind of low-quality star that then breaks down? Does that happen?
Irina (as Osip): Yes. There are plasmoids who do not want to fulfill their tasks, i.e., to pass energies through themselves according to the rules and condense them correctly. Because of this, for example, stars can be unstable, often explode, even burn their planets. This is because the energy was put into them incorrectly.
Igor: I understand. Thank you very much. Let's return to your earthly life in the body of Osip Mandelstam.
57:07 Contract in the Spirit World with the Spirit of His Future Wife Nadezhda.
Igor: Tell me, please, did you make an agreement about marriage with the Spirit of your wife, Nadezhda Khazina, even before incarnation?
Irina (as Osip): Yes, we had a spiritual contract that we would be together.
Igor: Had you ever incarnated together in other lives, or was this the first time?
Irina (as Osip): We incarnated in other lives. On Esler, we were brothers.
Igor: And after discarnation, did you meet her?
Irina (as Osip): Yes, she came to me. She departed to the 15th level.
(Irina) Shows that she descended to him.
(Osip) When she arrived at the 15th level, she wanted to see me. In the Spirit World, when you want to see someone, the one you want to see receives, so to speak, a signal. I felt her signal and gave my consent. Because there, consent for contact is needed. After that, she appeared before me. Because in the Spirit World, there are no such methods of movement as in the material world; there, you just think about where you want to be, and you find yourself in that place, for example, next to the Spirit you knew during life.
I had already taken on a different appearance by then. It wasn't the appearance my body had before the arrest; I was younger, radiant. She didn't even recognize me at first, but then I showed her it was me. She began to mentally ask me why I was at the seventh level, and I mentally... Mentally means I showed images explaining why I ended up there.
Igor: And in what form did she come? Young or old?
Irina (as Osip): The way I remembered her, so that I would recognize her.
Igor: She outlived you by quite a long time. Did she tell you what happened to her and on Earth after your death?
Irina (as Osip): She showed me that she had fulfilled her task and ended up at the 15th level. She told me about how she published, printed my works, and how people reacted to them.
(Irina) Shows her organizing reader meetings, clubs.
(Osip) She told me that people love my poems very much and thanked me for that. She mainly talked about my work.
Igor: And before meeting her, did you know that you were becoming more and more popular, that they were starting to publish you? Did you feel it?
Irina (as Osip): I felt that many people remembered me. I felt that my poems were being read.
1:00:55 The Influence of Reader Energy on the Spirits of Poets and the Egregore of Art.
Irina (as Osip): The fact is that when someone reads a poem, but doesn't know who wrote it, meaning they don't imagine that personality, the energy from the reader goes simply to the egregore of art. But if a person reads and knows (can at least imagine the external image), and is grateful to that poet, then only then will their energy go both to the egregore of art and part of it will go to the World of Unincarnated Spirits, to the poet who wrote it. Merely reading a book without imagining and without gratitude, the energy won't go to the Spirit, because it will go simply to the egregore dedicated to art. One could say that in the egregore of art, every writer and poet has, so to speak, their own department. And this energy collects there.
But if you remembered a specific personality and thanked them, then the energy will partly go to the egregore and partly directly to the writer's Spirit. And I can say that this is precisely the reason why books of poetry and prose often have either photographs or images of poets on their covers. You've probably seen when you open a book that there is an image there. Not in all, but in many books. This is precisely a law created by the egregore of art so that part of the energy of a person's Soul is sent to the Spirit World, to the personality who created those works. As an energy exchange for the knowledge and the emotions that the person receives while reading their works.
After all, when you read someone's works, you touch that person's Soul, its contents. And as an energy exchange, if a person sends energies of Love and gratitude to a specific poet, that poet feels them. Even if they are still in the flesh, their Higher Self feels it, and if they are already discarnate, then they themselves feel it. They have already united with their Spirit, with their Higher Self, so they perceive these energies.
But I can say that not all people in Soviet times, when they read my poems (shows that they were printed in some newspapers), knew who it was. I was not so famous because I was convicted. Therefore, my name was not widely published, and even less so did my poems appear in textbooks. They appeared in newspapers, there were collections. But the collections were signed: "Osip Mandelstam." But who was that? No biography was written, just a first and last name meant nothing to many. Later, when my biography came out, when a documentary film about me came out, I began to feel more energies of Love and gratitude. And I am so grateful to you for that!
I wish to incarnate again, but in a subtle-material civilization, to have more opportunities to raise my level.
Igor: Thank you very much for that answer.
1:05:30 O. Mandelstam's Interest in Women.
Igor: We know that you truly loved, were deeply attached in soul to your spouse. And at the same time, we know about a large number of your romantic interests. What was this connected with? Why were you always distracted by other women?
Irina: He smiles, says: "But in my soul, I am a poet."
Igor: So, and what? You could have dedicated all your poems to Nadenka.
Irina (as Osip): I looked at the world with a special gaze: I saw the beauty of every woman; a woman for me was the personification of a muse. So I wasn't distracted, but glorified the feminine principle, feminine energies, the energy of the mother in every woman. My Nadenka wasn't offended by this; she understood me perfectly and was even glad that I dedicated poems to women. Because she took it to heart for herself as well.
Igor: I understand.
Tell me, please, can you single out any of these interests of yours, I mean the women to whom you dedicated love poems and celebrated their femininity? Did anyone leave a special mark on your life? Is there anyone you remember now?
Irina (as Osip): As a woman, as a spouse, I loved only Nadenka. In the others, I saw that form of divine energy you call female beauty. You've probably noticed that especially men, for example you, despite having a wife, can still notice beauty in another woman? But that doesn't mean you will love her the same way as your spouse. You will have different forms of love. So I too could notice and even admire the female body. That's natural for a man. And I can say that this admiration also intensified my feelings for Nadenka. Because with this feeling of admiration, I looked at her and poured it all out on her.
Igor: Let me ask a delicate question. Did this feeling of interest in other women imply a need for, so to speak, intimate relations? Or are we talking about feelings of a platonic order?
Irina (as Osip): I was physically faithful to my spouse. As for my interest, it was merely a feeling of poetic Love, which you can experience when you look, for example, at a beautiful birch tree, at a river, at the sky, or simply at a beautiful person. Look at a child playing. Doesn't it evoke a feeling of Love in you? Look even at each other: look how beautiful you are! Can admiration for the beauty of a body, a soul, immediately cause infidelity? Infidelity, actually, is the wreck of the family ship. But admiration for Love, admiration for beauty enriches the Soul, raises its vibration.
Igor: A wonderful answer, thank you very much.
1:10:04 Mandelstam on His Poems.
Igor: Thanks to these interests, you indeed wrote a large number of luxurious, first-class works, so-called love lyrics. Can you yourself single out any poem that you consider the most successful?
Irina (as Osip): They were all sincere. I myself used to walk around with my book of poems (shows that he has a book and is reading it). I even read them myself, as a reader. And when they asked me to read them aloud, I also read from my book. It wasn't like I kept them in memory. Because their creation happened in a flow; I could write and then forget about it. So I myself read from a notebook, from a book, even at my performances. I had books of my poems.
But I want to say that I wrote not only poems; I also had novellas. Among them is a book about my trip to Armenia. It's written in prose, but I consider it such poems in prose, a poetic description of nature. There are many descriptions of the lake, the island, how people live, natural landscapes. I described all this, and my friends even told me that these were poems in prose.
Igor: Thank you.
1:12:10 Mandelstam on Writers – His Contemporaries.
Igor: Tell me, please, which of the Russian poets – your contemporaries – can you single out as equal to you in talent? Or simply those you liked?
Irina (as Osip): They showed correctly here: I was part of the Acmeist circle. It was a movement where there was a lot of imagery in poems, a kind of symbolic depiction of reality. And the poets who were there read poems to each other.
I really can't single out any one of them. I read Tsvetaeva, actually, and Akhmatova, and Gumilyov – my friends. And actually, I liked them all. I read Blok; he had very profound things, even spiritual ones, I would say. Of course, I also read everyone's beloved Pushkin. I liked him very much: such a clear, pure source. I learned from him how to express my thoughts.
Igor: You had a brief period of mutual infatuation with Marina Tsvetaeva. But after that, there was a break, and for the rest of your life, you called yourself a "convinced anti-Tsvetaean." What does that mean? Why did you come to dislike her so much? And now you say you liked her poems.
Irina (as Osip): Yes, I liked her poems. I called myself an anti-Tsvetaean because with Anna Akhmatova, whom I was friends with, they had hostile relations, and I took Anna's side.
Igor: Can you reveal to us the nature of those hostile relations between Akhmatova and Tsvetaeva?
Irina (as Osip): I would define it as competition and rivalry, because they were both poetesses and, by the way, knew each other. Marina herself was drawn to Anna, she was simpler. But Anna was an aristocrat. Her character, by the way, was very strict: she was an Orthodox believer, even observed fasts, read the Bible a lot. And Marina seemed to her like a street girl. She didn't like, for example, Marina's interest in women, and she often talked about it in company. She was my friend, I believed her, and I also began to treat Marina that way. But still, this didn't apply to the poems; it applied, rather, to the personality.
It happens with a person that when you disagree with another person, you are critical of them, but at the same time you can positively evaluate many of their actions. Even despite the fact that you don't like something about them. That's actually a sign of a mature personality. A mature personality is distinguished precisely by being able to love a person without hiding their shortcomings from oneself. You can love, clearly seeing these shortcomings and understanding that they exist, but simply accepting them. Not saying they aren't there at all.
Igor: I understand. Let's continue the topic of your relationships with contemporary poets.
1:17:06 O. Mandelstam's Conflict with M. Voloshin.
Igor: Tell me, please, why did you quarrel with Max Voloshin?
Irina (as Osip): It was all not serious. Just squabbles, which actually happened among many poets. Someone said something, someone didn't like something. We were very sensitive natures, you couldn't say a word to us. And what they showed about slapping Alexei Tolstoy, I didn't attach such importance to it.
Igor: Do you now consider that slap a mistake?
Irina (as Osip): It was simply unconsciousness, a lack of patience, Love. I would even call it a form of pride – that I am a poet, and you here don't notice me. I had such clashes. And, for example, if you take Pushkin, Lermontov, they probably had more than I did. We are all human; these were just everyday quarrels, nothing serious.
Igor: I understand. Thank you.
1:18:34 O. Mandelstam's Friendship with N. Bukharin.
Igor: It is known that one of your, so to speak, curators in the higher echelons of power was Nikolai Bukharin, who somehow helped you, resolved some of your everyday issues, and even tried to defend you after your first arrest – he wrote a letter to Stalin appealing to somehow ease your fate. How did you meet him, under what circumstances, and why was he so favorable towards you?
Irina (as Osip): He was at one of the gatherings where we read poems (shows that it was still during the time before the Civil War). By the way, he also attended these gatherings and literary circles. And at one of them, and there were many such gatherings, we met and became friends. And our relationship continued after he joined the party [RSDLP(b)] after the Civil War. I didn't join the party because I was an apolitical person, politics didn't interest me to that extent. And he was, one might say, a pushy young man for whom it was important to take a high place in society.
But we continued to communicate; he even came to visit me (shows). I was still living in a rented apartment in Moscow then. And by the way, indeed, thanks to him, I managed, I wouldn't say directly to receive as a gift, but to earn money for an apartment. That is, to get money from the publishing house, thanks to which I could become a homeowner. Because before that, we lived in rented apartments (shows how they changed apartments).
Because, as always with writers – sometimes flush, sometimes broke in the pockets. When there was a royalty, we lived in a rented apartment, and everything was fine with us. But we liked to live, so to speak, in grand style, Nadya liked various jewelry, perfumes, and it turned out that we soon found ourselves broke. We had to move out of the apartment, look for a simpler corner. And then, thanks to Nikolai's patronage...
(Irina) Shows him writing a letter to some publishing house: "I request assistance in publishing the poems of a major literary figure, a poet whose name is included in the list of major poets of the Soviet Union (there was confirmation of this fact). I request assistance in publishing his book."
Shows them publishing a book in a large print run and paying a royalty for it.
(Osip) Yes, indeed, that happened. I didn't ask him to arrange any patronage for me; it was largely his own desire.
Igor: I understand. Thank you very much.
1:22:29 O. Mandelstam's Culinary Preferences.
Igor: You mentioned a tendency towards a luxurious life. In this regard, I wanted to ask, can you name any of your favorite dishes or drinks? In particular, maybe a specific wine you preferred?
Irina (as Osip): I preferred Georgian wine. Wines such as red semi-dry and dry – several Georgian wines. I also liked goose liver pâté, pancakes.
Igor: And what about sweets?
Irina (as Osip): That was more Nadya's favorite (shows some little cakes).
Igor: They say you were a terrible sweet tooth and would immediately spend all your money on pastries.
Irina (as Osip): I wouldn't say that. Nadenka liked them, yes. I preferred more...
Igor: Pâtés?
Irina (as Osip): Yes, dishes like that. I bought wine, cognac. But that was, so to speak, for the dance of the tongue.
Igor: Got it.
Irina: So, what does that mean?
(Osip) It means for pleasure.
1:23:53 Mandelstam on His Moscow Apartment.
Igor: Returning to your apartment. Some researchers describe it as a Trojan horse you received in your life. By this they mean that you quite quickly began to regard this apartment as an attempt by the authorities to buy you off. Did you feel some inner burden that, against the backdrop of general poverty and hardship, you were suddenly gifted with such a present? Is this statement correct?
Irina (as Osip): It wasn't a gift; I earned it. They didn't give it to me as a present: "Here's a gift for you for being a poet!" No. It was for money from the publishing house.
(Irina) Shows a picture of him depositing money in a bank.
Igor: But the very opportunity to purchase an apartment in a cooperative building was not available to every citizen of the Soviet Union, including writers. It was a very limited circle of people.
Irina: Smiles and says: "Well, I was far from an ordinary writer."
Igor: (laughs) Well, that's clear! Okay.
Irina (as Osip): If they had given me an apartment, just Stalin writing out: "Here, Joseph, have an apartment, if only because you're my namesake."
Igor: (laughs) That would have been too simple!
Irina (as Osip): Then yes, I would have agreed that they wanted to buy me. I might even have refused.
1:25:50 Poverty and the Rationing System in the Soviet Union.
Irina (as Osip): Why I opposed Stalin, I already said: largely I got angry for Boris's sake. Because before that, I was loyal to him. I already said there were talks about high prices, few products, frequent shortages. When products arrived, they were quickly bought up. In Moscow, things were more or less in order, but when we traveled to different cities – we went to Kiev, and, as I said, we went to Armenia, and to other cities towards Kazan. In the provinces, so to speak, there were problems with products. People had money, but long lines would form, and these goods were quickly taken.
The Civil War ended, and yet in some cities, they introduced a rationing system. What is a rationing system? It's not just that you showed your card – and they gave you products. No, you had to buy them with the money you had. But if you had money but no card, then you'd be left with that money.
And many people were offended that they worked, accepted Soviet power, still at the machines from morning, especially peasants gathered into collective farms, it was hard labor. You come to the store – and there's nothing! For example, you want to buy meat, but you see some bones (shows), with only half the meat on them. And the best pieces, the shop assistants had either taken for themselves or sold to their acquaintances at triple the price, and they made a good profit on that. They just hide it under the counter and start trading for other money. And for the people, the working class, they create a shortage.
Of course, many didn't like this, many wrote complaints. Yes, based on these denunciations, people were arrested, there were trials. They even wrote about it in the newspapers; we read about it. However, the food situation did not improve, especially in provincial cities. But I accepted all this, I endured all this. Why did I accept and endure? Because I understood that this was after the Civil War, and the First World War had also ended not so long ago. Time was needed to restore the state. Especially since a revolution had occurred.
But when I saw that a scientist who wrote books, who taught and was always for the people, was simply slandered for his scientific views, which his opponents didn't like, they started informing on him, and he was arrested thanks to this slander – I got offended and wrote about the Kremlin highlander.
Igor: Understood. Thank you.
1:30:16 Spiritual Causes of O. Mandelstam's Physical Ailments.
Igor: Tell me, please, as far as one can tell, you were a rather sickly person from childhood: you suffered from asthma and angina. At least in your youth, you were treated in Finland. And later, throughout your life, you couldn't boast of robust health. Were there any spiritual causes for these physical ailments?
Irina (as Osip): Yes, there were spiritual causes. The reasons I was a sickly child were connected to the ancestral egregore. There was mutual misunderstanding between my mother and my father, connected with the fact that he earned money, and she, who, by the way, was a musician, stayed at home. They had misunderstandings because he didn't always give her the money for what she wanted. Because of this, they had mutual grievances. This affected, among other things, my energy and my brother's energy. And already in my teenage years, I felt that I was suffocating, because I had damage to the fifth chakra (shows it blocked). It was because my parents' energy field affected me that way.
And then later, when the revolution began... The revolution didn't just start out of nowhere. There were specific events: riots, famine, war in the Russian Empire, instability. I worried about this, read newspapers, and was very concerned about affairs at the front, and because of this, my heart chakra was damaged. Not severely, but there were angina attacks. That is, it was due to nerves, due to worry about the future of our country.
Igor: They say you also suffered from an eyelid disease. What was that? Why did it arise?
Irina (as Osip): It was an inflammatory disease. Because I didn't want to see much in the world around me. But this was specifically connected with political events: with the war, with the revolution, with the Civil War. There was this instability, however, it didn't lower my vibrations that much; it just affected my health. In parallel, I was still fulfilling my task – traveling, writing poems, learning about the world. Among other things, I had the task of learning history. I already loved my wife after marriage. All this allowed me to raise my level. And what was destroying my body were the consequences.
You know that from time to time you can fall into some stress. And this stress, that is, negative tension, can cause you a headache, or an upset stomach, or something else, that is, a health disorder. And I had that too. I was very sensitive, I had a body very susceptible to emotions, so I could get sick from any stress.
Igor: Understand.
1:34:52 Osip on His Father, His Support and Bankruptcy. Brother Evgeny.
Igor: Returning to your family, tell me, please, what was connected with your father's bankruptcy, when you were forced to limit your travels in Europe and return to St. Petersburg because the family didn't have money to support your education abroad?
Irina (as Osip): It was connected with him taking out loans from banks, and then sales in his store dropped. There was competition. He was paying off his debts and couldn't continue his business anymore.
Igor: Understood. And did he easily give money for your first book, or did you have to persuade him?
Irina (as Osip): He gave me money not only for the book, but generally for trips. Because I was his son. And when I said he didn't want to spend on what my mother asked him for, he explained precisely that he needed to save this money for the children. Including for me and my brother. Of course, he gave me money, as he considered that this was what he earned it for – to secure our future. Of course, I told him what I would spend it on, and he also knew about the poems. I read him my poems, and he was in favor of them being printed.
(Irina) That is, shows that his father supported him.
Igor: Tell me, please, you constantly talk about one brother. Obviously, about Alexander, with whom you were especially close. But you had another brother, Evgeny, if I'm not mistaken. Right?
Irina (as Osip): Yes.
Igor: Were your relations with him normal?
Irina (as Osip): Yes, we just didn't communicate that often. He lived with his own family.
Igor: I understand.
1:37:08 O. Mandelstam's Mental State During Arrests.
Igor: It is known that during your first arrest, while you were in prison, you were visited by voices that accused you of testifying against other people. This is, I would say now, a sign of schizophrenia. What was going on with your mental health?
Irina (as Osip): This was because, as I already said, I was an unconscious contactee. And because I was stressed and locked up, which indeed happened during the arrest, my fears intensified. Because when I realized that someone had informed on me... Firstly, when I read this to people...
Yes, I wanted Stalin to read it, but I didn't think it was anything so terrible. I thought it would allow him to see how the people saw him, and even help him turn in a different direction. When they informed on me and I was arrested, I realized that the poem had reached him. And I realized that no one was going to change. Because they put me in prison. On the first interrogation, they immediately told me what I was accused of – counter-revolution. Although I hadn't written a single word specifically about the revolution there.
I realized that this was all on Stalin's orders; they wouldn't have arrested me just like that. I realized that he was already familiar with this poem, and that he hadn't understood it the way I intended. I realized that he equated himself with the entire revolution, meaning he elevated himself. And criticism of him personally was, for him, criticism of the entire party, of the entire revolutionary cause, although I didn't mean that. But I realized that he understood me that way. Of course, I realized that he understood it that way to protect himself.
When I realized this, I thought that my life was in his hands, hanging by a thread. All he had to do was give the order, and I would be simply shot without trial or investigation for counter-revolutionary activity. When they interrogated me, I kept looking at the pistol on the officer's belt, thinking about how the bullets were placed there. Thinking that one of them would soon be in the back of my head. Even in my sleep, I dreamed of the person who cast that bullet. There was a fear of death.
I began to hear voices accusing me. These voices belonged to destructive plasmoids, which fed on the energy of my fear and guilt. Why did they accuse and frighten me? So that I would emit even more of this energy. I mistook them for the voices of the Souls of those people. They even told me that those people had already been arrested, that they were in the same cell with me, that they were being tortured. I wasn't tortured, but they threatened that if I didn't tell the truth, they would apply special methods. For example...
(Irina) Shows them depriving someone of food, beating them. And shows a cell where a cold temperature was maintained, like a big refrigerator, even in summer.
(Osip) They could strip a person naked, douse them with cold water, and place them where they would literally be covered with an icy crust. It leaves no marks, but very quickly the interrogated would start knocking and say: "We'll tell you everything! Even what didn't happen." They didn't do that to me, but they threatened to do it, that "we have special methods." And then, when the testimony was beaten out, in court it was impossible to say "they did this to me," because there were no marks on the body, no signs of beating. And any investigator could answer: "He's slandering us to deny his crime." And the judge believed them.
These voices told me that such methods were being used against my friends, that they wanted to kill them, that they even wanted to kill my wife, that they had gone to my brother in Petersburg. They frightened me with troubles involving relatives. I believed them because I thought they were their Souls; I didn't know they were plasmoids. And then one of the voices introduced itself as my Angel and told me to stop eating, because they might poison me. And the same thing was told to me when I was arrested the second time; they showed that all the food was poisoned. I asked: "Why?" – "So that your execution doesn't cause a revolt among writers; they decided to get rid of you quietly, using poison." And I refused to eat.
The plasmoids deceived me so that I would suspect the jailers, get angry at them. I then lowered my vibrations even more, because I was hungry, I wanted to eat. I was weak, but I was afraid to take food, afraid I would die from poison. And moreover, they showed me that it was a poison that causes a painful death. Once I couldn't bear the hunger and decided to eat a little. But because I thought there was poison, I did indeed get an upset stomach.
Igor: This was already during the second arrest. Right?
Irina (as Osip): Yes.
(Irina) Shows him being sick and having intestinal upset.
(Osip) I thought they had really poisoned me. Although it was just my belief. I didn't die, just felt bad. Then I started asking my cellmates to taste this food, and at the same time scolded myself, thinking that if something happened to them, I would be killing them.
(Irina) Shows that he developed persecution mania, he is very afraid and thus lowers his vibrations. Anxiety begins. And during the second arrest, he shows the 11th, 10th, 9th – that's how he started decreasing by level. Literally every week, his Spiritual heart filled more and more with anxiety, which displaced the Love that was there before.
Igor: Thank you very much. We'll return to this episode.
1:47:16 Exile in Voronezh.
Igor: I'd like to go back a bit earlier, to Voronezh, and ask about this. On one hand, it was an exile that was hard on you. Because at some point you lost your job, literally had no means of subsistence, were it not for the help of your friends. But at the same time, it is known that you wrote perhaps your best poems precisely in Voronezh – those very "Voronezh Notebooks." In this regard, the question: can it be said that this exile, from a creative point of view, had a beneficial effect on you?
Irina (as Osip): I didn't expect to be there at all. And along the probability branch, there was a low probability that I would end up in Voronezh at all. Simply put, I wasn't supposed to be there. That is, it was not according to fate. I wasn't even supposed to be in exile in the Perm region, because that was caused solely by my own action.
(Irina) Shows him writing a poem, and for that they sent him into exile.
(Osip) It was my choice that caused such consequences. If I hadn't done that, I would never have gone there.
Igor: So there would have been no arrest and no exile?
Irina (as Osip): Yes. It was a consequence of my choice. If I hadn't committed it, I wouldn't have gone there – not to the Perm region, not to Voronezh, not to that sanatorium; no one would have forbidden me to live anywhere. I built this fate for myself. After all, when I incarnated, I didn't plan to write poems of that kind. So the probability of ending up in those cities was very small – 5-7%. And by my choice, I increased it to 100%.
Therefore, I want to tell you, dear friends, that any action of yours can change your fate. Any insignificant word you say, some poem, song, even the fact that you go to visit someone. This action can change your fate by 180°, and you yourself don't know how much it will change your fate.
But if I had known who to consult, whom to ask whether to write this poem or not, and especially whether to talk about it, I certainly wouldn't have chosen such a fate for myself. If I had known exactly about the consequences. Because I thought differently. I thought that this poem would reach Stalin, and the worst that would happen would be criticism of me in the press, but he would realize his cruel crimes, repent, and stop doing so.
1:50:53 Stalin's Reaction to Mandelstam's Arrest.
Igor: And do you know that, firstly, on the letter that Bukharin wrote to him asking him to pay attention to your arrest, Stalin placed a resolution: "Who gave them the right to arrest Mandelstam?!" And then he even called Pasternak and asked whether Pasternak considered Mandelstam truly a major poet. So it turns out he was seriously concerned about your fate. And it is believed that not only thanks to Bukharin's intercession, but also thanks to Stalin's decision, the sentence was relatively lenient – three years of exile.
Irina (as Osip): I know about that. But at the time, I didn't know it.
Igor: I understand.
Irina (as Osip): I was sure... You are simply reading facts that are now known, but at that time they were unknown. I am now talking about my perception of reality back then, when they came, firstly, to search my apartment.
(Irina) He's talking about the first arrest.
(Osip) They came with a search. What was I supposed to think? They took me away, locked me in a cell. And when they started interrogating me, they showed me my written-down poem and asked: "Is this your work?" I said: "Yes, it's mine." Because lying would have been more costly. And besides, I didn't think it was anything bad. What was I supposed to think? That Stalin didn't know about it? How could I have thought that? And then later, of course, I...
1:52:54 Mandelstam's Meeting with Stalin in the Spirit World.
Irina (as Osip): By the way, I went to see him in the Spirit World. We met. I descended to him at the 6th level.
Igor: So you received his consent for a conversation?
Irina (as Osip): Yes. We met when he had already left incarnation.
I was following the egregore of the USSR and saw that he had left incarnation, meaning information came from the egregore. I waited a few weeks for him to unite with his Higher Self. Since I didn't know where he had ended up, I sent a request through my Angel-Consultant. I received an answer that he was even below me, at the 6th level. But I wasn't surprised; I even expected a worse result. I sent a request for a meeting (shows sending an impulse) and felt an invitation.
And I went to him... what does "descended" mean? I wanted to be next to him. He met me. At the 6th level, his world is arranged like a huge office.
Igor: Like the Kremlin?
Irina (as Osip): It's bigger than the Kremlin and completely filled with books. And on all the books, covers, as if he had written them.
Igor: (laughs) Wait! Are these imaginary books? He didn't actually write that many. Or is the office furnished with collections of Stalin's works?
Irina (as Osip): It's as if he created an office for himself in which his books are.
He was sitting in a chair, more like a throne, and smoking his invariable pipe. Next to him stood two archons in the form of demons with wings. He says: "What did you want?" He recognized me, read the information, who I am. I look at him and say: "Why? Why did you do this to me?" I asked that question. He transmitted a thought packet to me, meaning information, and I saw how it all looked from his side.
It looked like this. They informed him that I was arrested. And before that, he had been reading my poems. By the way, he read my other poems, including on the recommendation of Nikolai Bukharin. He called the prison administration, and they sent him the file upon request (shows a folder), so he could read why I was arrested. He asked: "For what reason?" They told him the article. He said: "And for what reason are you attributing this article to him?" They say: "We have people's testimonies." And he says: "Send me the file. I'll read it."
(Irina) Shows them sending the file to his desk.
(Osip) Naturally, he opened it and, of course, read that poem. But only afterwards...
Igor: After you had already been sent...?
Irina (as Osip): No.
Igor: After the arrest?
Irina (as Osip): After the arrest. I thought he had read it before the arrest, but he read it after, when that call had already been made. He says: "Why did you arrest him? I didn't touch him, yet he is arrested," – and he started to find out under what article. They told him: "Article 58: counter-revolution." He asked: "And what counter-revolutionary thing did he do?" They say: "We have a case here. We are following the law." He says: "Send me the file." They, naturally, as the head of state, sent him the file; he started reading it. There was testimony from Marina, who had informed, a sheet with my poem with a signature, a transcript of my interrogation, a search record. Everything was there.
He read it all and saw, naturally, this poem. But even after he read it... He told me in the Spirit World: "You know, I wasn't offended at all: so what – 'Kremlin highlander'! Well, there were some attacks. But I liked how you wrote that I have a broad chest and shining boot tops ("His cockroach mustache laughs, / And his boot tops shine"). And most of all, I liked that you appreciated my speeches: "As true as hundred-pound weights..." ("His thick fingers are fat, like worms, / And his words, like hundred-pound weights, are true...")". That is, he says: "On the contrary, I liked the poem. And I asked: 'Why was he arrested? He praised me there.' Then they said he was arrested because you called me a 'soul-slayer,' and that 'every execution is like raspberries,' and that is an insult to Soviet power."
He says: "I answered them: 'Soul-slayer? And I agree with that. I slay the souls of people who are counter-revolutionaries. I am against all sorts of kulaks, counter-revolutionaries. Yes, I slay their souls, I'm not against it. And as for 'every execution is like raspberries and the broad chest of an Ossetian,' I personally sign who to execute. He considers it 'raspberries' because of my past. I don't hide it; I wrote about it myself in my autobiography. (This autobiography was known in Soviet times.) So there's nothing to arrest him for.'" That is, he started defending me.
They told him that they had already planned to take my life. That is, execution was planned. And when Stalin said "don't touch him," they said: "Some punishment is needed so he doesn't continue. So he doesn't think he's allowed everything." They gave me exile to another city and allowed my wife to come with me. Although everyone, even my wife, considered this too lenient a punishment for that poem. But it was on Stalin's orders. I didn't know about it then; I thought my friends had saved me. But actually, Stalin ordered it, saying: "Okay, let him live in another city, think things over."
Stalin explained to me: "I wasn't offended by you for this poem. The only reason I agreed to the exile was that besides my image, you also described the image of the government – that they are 'half-humans,' that around Stalin there is a gathering of 'thin-necked leaders,' 'half-humans' who carry out my orders ("And around him a rabble of thin-necked leaders, / He plays with the services of half-humans..."). For that, you truly deserved exile. Because 'half-humans' is a denial of human dignity to these people; it's an insult specifically to my entourage. There was no insult to me personally as the ruler. The fact that my 'fingers are fat, like worms' – such an image came, the poet. I understand that poetic inspiration is unpredictable." He said that to me. "I wasn't offended by that. On the contrary, I liked that you appreciated me."
Stalin also told me that he spoke with...
Igor: Pasternak?
Irina (as Osip): No, with the head of the NKVD.
Igor: Yagoda, presumably?
Irina (as Osip): Yes. On whom my fate depended. He called him that I had to be released. He himself told me and said that this head of the NKVD even argued with him, that this couldn't be left like this. Argued mildly: "This cannot be left like this. He'll spread it everywhere. We'll show weakness." And Stalin decided: "Well, okay. You can exile him for three years specifically for calling them 'half-humans.' But not for what he wrote about me."
Stalin says: "Don't blame me for this. I didn't want to have you imprisoned or sent anywhere." I say: "Okay. But why was I arrested the second time, after I had already served that exile?" He spread his hands and said: "Well, you yourself know perfectly well that after exile you had to register. You had to return to your apartment only after permission, after you had shown that you had reformed after serving your sentence. But you started secretly visiting your friends; they started collecting money for you. You told some that you were sent into exile in vain. That is, you didn't appreciate the lenient attitude of the Soviet authorities. And for that reason, they could have shot you then. But I found out about your second arrest, about the fact that you weren't following the order to register at the police station."
He told me: "After some time, they would have allowed you to settle in your apartment. Time just needed to pass. But you neglected that. And when I saw that you had neglected our laws a second time, I said: 'Well, okay. If you didn't understand in three years, give him five years!'"
(Irina) That is, he saves him a second time.
(Osip) "Maybe not just exile, but a corrective labor camp. In exile, he lived like at a resort." He told me that directly: "You lived in exile like at a resort: your wife was with you, not your cellmates; you worked in a literary club in Voronezh; you received money for your apartment in Moscow; they even allowed you to rent it out. And after that, you still don't follow the law? Okay. Then you'll saw wood." He explained it to me directly like that. So a harsher punishment followed.
But I didn't reach my final destination due to illness.
Igor: Thank you.
2:06:34 The Second Denunciation of Mandelstam.
Igor: Tell me, please, do you know who wrote the second denunciation against you, which caused the second arrest?
Irina (as Osip): Yes. They showed him in the film.
Igor: Stavsky. Did you know at the time of your life, or did you learn about it only later?
Irina (as Osip): No, after discarnation.
(Caption on screen: "Vladimir Stavsky (1900–1943) – writer, war correspondent, literary functionary. During Mandelstam's exile in Voronezh, he helped rent out his apartment in Moscow and forwarded money to his wife. However, in 1936, it was Stavsky who sent a statement to the People's Commissar of the NKVD, N. Yezhov, demanding to 'resolve the issue with Mandelstam.'")
Igor: Can you explain why he did it?
Irina (as Osip): Because I was breaking the law. He saw this, as he was precisely the one forwarding me money from my apartment in Voronezh. Firstly, he was my friend, and I trusted him to rent out the apartment. And when he saw that they were collecting money for me, after I had already arrived in Moscow, he met with me. We talked; he said: "Why did you come back? Isn't it too early for you to return?" And when I started explaining that I didn't feel guilty of anything, he got indignant (shows his indignation). He disagreed with that poem; he knew about it. And he felt resentment on behalf of the government, that they had treated me leniently, and I wasn't following the laws. And he decided to punish me.
Igor: So he was sincere in his denunciation.
Irina (as Osip): He was resentful that I didn't appreciate that everyone had stood up for me, and that I didn't appreciate being treated leniently.
2:08:36 Reasons for Mandelstam's Suicide Attempts.
Igor: Tell me, please, about your suicide attempt. There were even several – in prison, and then in Cherdyn you tried to throw yourself out of the window. This, as I understand it, was the destructive plasmoids pushing you?
Irina (as Osip): Yes, they sent me thoughts that life no longer had meaning. Firstly, they sent me thoughts that I would never leave prison. Secondly, they sent me thoughts that I was guilty of my friends being arrested, that I had to atone for my guilt with blood. Thirdly, they sent me thoughts that even when I got out of prison, I would never be so famous again, because I would be branded a convict. And no decent Soviet publishing house would ever accept my poems for printing. And I wouldn't be able to leave the country because exit would be closed. So there was no point in living. That is, I would just be a burden on my wife, who would have to go work somewhere.
Such thoughts came. And yes, I threw myself out of the window. My wife was nearby; indeed, they allowed her to accompany me. That was the first exile. She saw it, and she saved me, called an ambulance. I had an arm injury (shows himself walking with a cast).
And then she watched over me, even hid knives. Because I continued to express these thoughts, that I didn't want to live. She wrote to Boris Pasternak about it and to Nikolai Bukharin, that I was in a bad state, might commit suicide. She knew why – because of these thoughts. And they were afraid for me, wrote to Stalin about it, and he gave the order that I could move to another city with milder conditions, an apartment, and where I could work. That is, to soften the conditions of my stay. He later confirmed to me that he had also been informed about my suicide attempts.
Igor: I understand. Thank you.
2:11:14 Mandelstam on Meeting Nadya and on His Friend Boris.
Igor: Tell me, please, now, looking from the Spirit World at your entire lived life, what would you single out as the three main, cornerstone events of your life that most seriously shaped your fate?
Irina (as Osip): Meeting Nadya.
Igor: In Kiev?
Irina (as Osip): Yes.
(Irina) Shows him with her on a steamship. Somewhere in Crimea, maybe? Shows them sailing on a steamship on the sea.
(Osip) Meeting Nadya. Meeting Boris, the biologist. We, by the way, were together in several incarnations, and he supported me greatly. He opened a new world for me – the world of plants, the world of animals. I already said that my task was the knowledge of the world. But before that, I was more interested in history, literature, and he got me interested in biology. He could talk for hours about some flower, what it looked like, how it was structured, what stamens and pistils it had. And it was all very fascinating. He knew hundreds of plants. We went to the forest on walks together.
(Irina) Shows they went on horse-drawn carts, hired a cab.
(Osip) There he would tell me the names of grasses, insects, how they lived. I found it all very interesting, and I started writing poems again, describing nature. I consider that he inspired me.
2:13:20 Mandelstam on Interrogations After the First Arrest.
Irina (as Osip): And the third event was not even writing the poem, but my arrest, the first arrest, because of which my fate changed. I got exile and a ban on living in large cities for five years after the exile. For five years, I had to live where they told me, work where they told me, and go register. And I could meet my friends only if they came to me. I could receive letters, but I couldn't travel myself.
I'll now explain why such a law. Because it was a political article, and a person who had been punished under a political article was placed under surveillance by the special services (NKVD). And the period during which he wasn't allowed to live in large cities was needed to prevent counter-revolutionary cells from forming around him. So that he would be deprived of the opportunity to speak out against the authorities. That is, they were protecting their state.
Yes, by the way, they suspected everyone of this. In general, under Stalin, the police, the prosecutor's office – all these services – were very picky. For example, you answer their question, and they start suspecting that you're lying to them. They even say: "What, are you mocking me? Why did you write this poem?" I told them the truth, told them about Boris, that I got angry about his arrest and wrote it. And the investigator says: "You're lying. You wanted to overthrow Soviet power?" That is, they had such suspicions. I say: "No! Why would I want to overthrow the government? I'm just against persecution for faith, for ideas."
(Irina) During interrogations, he shows me, there were different investigators; they changed.
(Osip) – "Ah! So you want any ideas, even counter-revolutionary ones, to spread freely? And you don't even care if people believe them, lose faith in Soviet power, and stop following the laws? They'll start sabotaging because they support the overthrow of the government because it's acting wrongly?" I say: "But shouldn't there be criticism of the state?"
And they answered me: "Criticism of the state leads to distrust of the laws. Distrust of the laws leads to crime against the law. Therefore, we fight against ideas that can destroy people's faith in our communist party. The communist party must create a state in which there will be no opponents of these ideas." And they explained why. Because alien ideas will destabilize the state, as people, distrusting the authorities, will raise their children the same way, and then they will stop building and loving this state.
Igor: I understand. Thank you for the answer.
2:17:30 The Last Days of Mandelstam's Life.
Igor: Our conversation is coming to an end. Of course, I cannot avoid asking a question about the last days of your life. They took place in Vladivostok, in a transit camp. There are many legends describing your stay there in the last days. There are stories that you supposedly read poems to criminals by the campfire in exchange for food. That you were beaten, thrown out of the barracks. What actually happened? How did you spend those last days of your life, and how did you die? Please tell us.
Irina (as Osip): I already said that when I was arrested the second time, I had already started having suspicions, connected with the voices, that they wanted to poison me. Before being sent off, my wife sent me money. Firstly, I spent three months in Moscow. Even more than three months, while the investigation was going on, while there were places, meaning there was a certain queue for sending out. And when the sentence came – "five years of corrective labor camp" – they acquainted me with it, I signed it. At first, I was encouraged, because I was expecting maybe fifteen years. Because I knew I was being accused under this article again, that another denunciation had been written. I didn't know who, though, because they didn't say.
I asked who wrote it, but they answered that this information was forbidden. Because the investigators were afraid of retaliation from the informer's friends and relatives, so they weren't supposed to disclose who informed. But I knew from the facts they presented, that I had met certain people, that it was an informed person. "So," I think, "someone from my close circle." But I couldn't figure out who. So I thought: "Aha! I know this law, that I served my exile and violated the law of residence. Since this is a repeat offense, they could give me fifteen years."
(Irina) Shows him reasoning about how many years he would get.
(Osip) And then the sentence came – "five years." I was informed of it. I thought: "Well, five years, that's nothing!" I was glad. But I saw that they weren't sending me into exile, but to a colony, to a zone, and it was a zone where you had to work, because it was a corrective labor camp. Of course, I knew many rumors about how people served their sentences there; many had told me about it. I didn't expect anything good there.
Firstly, the transit itself. I waited, sat. In Moscow, in the cell, they fed us. I already had the voices that the food was poisoned, but I didn't pay attention then. Because I wasn't alone in the cell; everyone ate, and I saw that everyone felt fine. I understood that if they put poison in one pot, everyone would get poisoned, and everyone felt fine. So I ate there. But then, when we traveled by train...
(Irina) Shows a common carriage, even resembling a freight car; they all lie there.
(Osip) We traveled for a long time. At some stations, we stopped, the train stood for several hours. Convoy with dogs, so no one escaped. And there were interruptions with food. That is, for example, they might just bring us pieces of some rotten fish (it smelled rotten), which no one wanted to eat. Then they also gave us salted fish, but after it, they didn't give us water for several hours because there was none, and everyone was tormented by thirst. In short, interruptions with food began.
We arrived at one camp first, then they took us to another. And I started waiting for the final destination, wherever they said. But this time dragged on. Because the corrective labor camps were overcrowded, there were no places. And I waited there, in this transit camp. While I waited, they didn't take us to work; we were in cells. There, I started refusing food (shows).
I had money with me from my wife that was still left (shows that there was a small shop on the territory of this camp), and I bought myself buns (shows buns, meat patties in dough, some pastries). I ate that, and refused the camp food.
Then the voices started: "You left half a bun. While you were sleeping, they sprinkled it with poison." They started scaring me. I threw it away, went for another bun. The people who were in the cell with me noticed my behavior, that I was refusing food, and started asking me what was wrong. I told them the food was poisoned. They started laughing at me, like I was crazy.
When my money ran out, I started asking my cellmates, when they brought me my portion, to taste it. But they laughed at me, some were rude.
(Irina) Shows them saying: "Get out of here!" – and name-calling.
(Osip) I told them who I was, that I was a poet. And I said to them: "Let me read you poems, but not for food, for money?" Some of them had money. They agreed (shows them listening to him and giving him some coins). Not all, but some agreed.
2:26:09 Illness and Exit from Incarnation.
Irina (as Osip): But because of these fears, I lowered my vibrations so much that my body got sick. Firstly, where we were, there were bedbugs and lice living in our clothes. That is, lice crawled over my clothes and bit me. I scratched myself all over. The bath didn't help, because all the linen was infested; we infected each other. I felt a high temperature.
(Irina) Shows him lying down, with fever and a rash all over his body. Typhus. Shows that he caught the infection from lice.
(Osip) My body was weakened; I wasn't eating practically. Once or twice a day, some bread. Not enough nutrition, and my immunity dropped. Plus stress and lowering of vibrations. My body couldn't fight this infection. I had a high temperature, cough (shows something like pneumonia).
I saw people with machine guns burst into the cell, wanting to kill me. But I understood it was a vision from the high temperature. A state like a dream, when you're asleep and not asleep. You open your eyes – and everything swims.
I didn't measure my temperature. They called a doctor, gave me some powders. But at the same time, everyone in the cell was smoking (shows them sitting, smoking), and I coughed from it. And I felt my whole body burning with fire. I couldn't stand on my feet because of very great weakness. I didn't even always understand where I was. That is, I opened my eyes, looked at the electric lamp at the top of the cell, and around it floated clouds of tobacco smoke. Because a lot of people were smoking.
I looked at it; it seemed to me that it was the sun, and this wasn't smoke, but clouds. I waited for rain to come and wet my head a little, because it was burning. But there was no rain. I thought I was somewhere in the south. Then I thought I was back in Armenia, lying under the sun on an island on Lake Sevan. I looked for my wife; it even seemed to me that she was sitting next to me. I told her: "I'm tired, let's go home." Some man approached me and asked: "What are you raving about?" And I asked: "Call my wife!"
This state lasted for several days, night and day. Then some man in a white coat would come, pour some bitter liquid into my mouth, measure my temperature, whisper something. He would take off my clothes, lean over, look, and I saw that I had a rash on my body. I heard words but didn't understand what they were talking about. It was a semi-conscious state; they even fed me with a spoon.
(Irina) Shows them mixing bread with water or some kind of porridge and feeding him with a spoon. One of the cellmates lifts his head and gives him food. Because they feel sorry for him, they have compassion.
(Osip) I don't know how much time passed (shows him coughing). On one of those days, I feel like I'm suffocating. I don't have enough air; my heart starts beating very fast, and blood pounds in my temples. And the whole world around me began to turn red, as if everything became red. After that, I fell into a black pit.
(Irina) Shows him losing consciousness.
2:32:22 Meeting with an Angel.
Irina (as Osip): How much time passed, I don't know. I didn't remember who I was, where I was, what I was, what my name was. And suddenly I felt someone carrying me in their arms. As if some big person was holding me. I didn't see anything, just felt darkness. There weren't even any thoughts, a state like being unconscious. Then I felt that I had a body, and that someone was holding it, that I was being carried somewhere. My memory started returning. I thought: "Maybe they're carrying me on a stretcher to the infirmary or somewhere?" But I felt it wasn't a stretcher, but that they were pressing me with their hands. I think: "Who is this?"
I started peering intently into the darkness and saw two eyes looking at me from there (shows). They were luminous. I think: "What's happening? More delirium." But at the same time, I no longer felt the previous heat. And when I said: "Lord, help me understand where I am and what's happening to me, enlighten my mind," – that is, I started to pray, I saw that the darkness disappeared, a flash of light – and everything became bright around. I saw a huge Angel with wings, probably ten meters tall. He was holding me in his arms, like a little person, and we were flying somewhere.
I turn and say: "What happened?" He answers, but his lips don't move: "Your incarnation is over. I am taking you to the Spirit World. You will now unite with your Spirit. Enough time has passed." That is, all this time while I was unconscious, I didn't understand that I was outside my body. Because I had no consciousness; it was suppressed by illness.
Then I saw a huge white sphere, and we flew inside it. After that, I began to expand, I remembered who I was. First, I remembered the last incarnation, and gradually, over several days in Earth time, I began to remember the others. Why not immediately? Because for my Spirit, the exit from incarnation through such an illness, which severely disturbed consciousness (the etheric body was weakened), was a shock.
Almost immediately, my Angel-Consultant descended to me (shows him: all in white, tall figure like a pillar). We started talking. He began to show me pictures from my life and ask questions, thanks to which I remembered everything and came to my senses.
Then I learned that I had lowered my level and ended up at the seventh, according to the Interstellar Union scale. I felt very sorry for myself, and I wanted to meet my wife. I went to her; they opened the way for me. But she was still in incarnation; I came to her when she was asleep.
(Irina) Shows that they met in a dream.
Igor: Was she aware of it?
Irina (as Osip): I think she remembered the dreams. Because she met me and was very glad to have met me (shows that she saw him, but her body was asleep, meaning she was in a dream). And then later, as I already said, when she left incarnation, she came to me herself.
(Irina) I'll explain now. He told about his exit from incarnation in a state of very great weakness, illness. Firstly, this exit from incarnation was premature. And secondly, because he had an infection, his brain was damaged. That is, the perception that there was darkness, etc., were consequences of the brain damage. Because the impact went through the brain to the Soul, this loss of consciousness. And time was needed for it to come to its senses. It's not always, but this happens with people.
Igor: Thank you very much.
2:38:50 Mandelstam's Space in the Spirit World.
Igor: Tell me, please, how have you arranged your spiritual world now? Stalin sits in an office, but what do you have?
Irina: Wait. Show me your home.
He shows not even a house, but a garden, in which there is a round gazebo with columns. He is sitting in this gazebo in a Greek toga, and he has a wreath on his head. That is, he shows that his home is a garden where trees grow. And they are not only from Earth, but from different planets. Because he remembers where he once lived. He walks there. In the gazebo, he has a round table with fruit on it. He creates a world of nature for himself.
Igor: So he painted such an ideal picture of Ancient Greece – yes, right?
Irina: Yes, very reminiscent of Olympus. But I don't see a mountain, I see a garden.
Igor: I understand.
2:40:06 Questions from the Audience. Mandelstam's Lowest Level.
Igor: Dear friends, our conversation is coming to an end. By tradition, we have a unique opportunity (who would have thought!) to ask a personal question to Osip Emilievich Mandelstam. If anyone still has questions, we can allow three or four.
Audience Member 1: Joseph, tell me, please, was the 7th level the lowest you ever sank to?
Irina (as Osip): No.
Audience Member 1: What was the lowest?
Irina (as Osip): 5th.
Audience Member 1: For what reason?
Irina (as Osip): War. Not on Earth, on another planet.
2:40:51 Was Mandelstam Given a Chance to Raise His Vibrations?
Audience Member 1: Tell me, please, the event of writing the poem, which was not part of your incarnation plan, but you made that choice, and after that came the lowering of vibrations. Were you given chances to raise your vibrations? And if not, why didn't you die earlier to prevent the lowering?
Irina (as Osip): I consider that Stalin's intervention in my case was precisely a chance for me to stay alive. Because they really could have shot me, and, by the way, even without his knowledge. I mean, without his knowledge? He could have simply signed the execution plan, saying it was counter-revolutionary activity, without looking into the details. It was thanks to the fact that they called him and started asking him not exactly to release me, but to impose a milder punishment. I consider that the fact he found out about this poem and ordered me to be sent into exile was precisely a chance for me to return to my work.
After all, after I was in the Perm region and then went to Voronezh, as Igor correctly said, I continued writing poems there, which later became part of the book "Voronezh Notebooks." That was my chance to engage in creative work, to return to raising my vibrations. I just needed to follow everything required by law: live where they said, prove loyalty to the Soviet authorities with my poems.
I understood perfectly well that I was under close surveillance. But because I didn't even agree with this exile, I visited friends. I didn't think they would write denunciations against me. I knew there wasn't such surveillance that they would follow me step by step. Who would spend their resources on that? I wasn't such a dangerous repeat offender. I needed to focus on my work, live where they said. And in that case, after a few years, I would have had the opportunity to return to Moscow.
But I looked at my probability lines. In that case, I would have lived until World War II and could have lowered my vibrations because of that. They probably wouldn't have taken me to the front; I was too old and not healthy enough. I had poor health. But, for example, being evacuated to the rear and following war news, I could also have lowered my vibrations. I know from my wife that she was evacuated. She lived through the war and showed me pictures of what happened, and I think it would have been hard for me to bear.
Igor: Thank you.
2:44:44 The Global Design of the Incarnation of the Silver Age Poets.
Audience Member 2: Tell me, please, was there some kind of global design in the appearance of a pleiad of such brilliant poets, of which you were a part in the Silver Age? Perhaps you somehow supported each other? At least, maybe you somehow agreed that you should all incarnate together in this period to create such a more powerful creative explosion? Was there something like that in the plans in the Spirit World?
Irina (as Osip): Indeed, Anna Akhmatova, Nikolai Gumilyov, Alexander Blok, Ivan Bunin, and I were acquainted in the Spirit World. And with Marina Tsvetaeva, with Demyan Bedny, Sergei Yesenin (shows poets of the early 20th century). We were indeed acquainted, and we indeed had an agreement that we would help each other during incarnation, support each other. And poems were our tool for raising people's vibrations, for raising awareness, for raising Love. Including love for nature. Each wrote about their own thing, but it was all a means for opening the Spiritual heart.
2:46:38 The Spirit's Choice of Incarnation Time.
Audience Member 3: Joseph, a question. Tell me, please, when the incarnation was chosen, firstly, the task was set to raise vibrations. Why did you choose to be born precisely in such a difficult period? Surely all the branches of events were traced. The question is – why, with such a difficult incarnation, did you choose to be born as Osip, when there was a probability of such an outcome of lowering, even though the task was set to raise vibrations?
Irina (as Osip): Because I did not plan to end up in these circumstances. I decided that already while in incarnation. When I planned to incarnate in this time, I thought it would only help me. Revolutionary events, if approached correctly, and you surely know such examples, contribute to the advancement of those writers and poets who, before, in Tsarist times, went unnoticed. You've probably heard of Maxim Gorky, of Demyan Bedny, Mayakovsky. That is, poets and writers who managed to adapt to Soviet power; it, on the contrary, promoted them, helped them in their work.
After all, I wasn't the only one who decided to incarnate in this time. Everyone who lived in it decided to incarnate in this time. It was our experience, our lesson, and we all saw where we were going. I believe that in any time one can effectively raise one's level. I just lacked the intuition, the connection with my Higher Self, my awareness, to understand what was in my destiny to do and what was not.
2:49:22 Where is the Egregore of Art Located?
Audience Member 4: You spoke about the egregore of art. Is it common to all galaxies or does it exist only for Earth? And how is it all accounted for, where is it located? Can you tell us a little?
Irina (as Osip): Egregores are located in the noosphere of a specific planet. For example, earthly egregores are located in the astral world of Earth. Therefore, each planet has its own egregores; they do not extend to other planets. But if this planet is part of a union of other planets, they may have common egregores, and they are then located in the astral space of the galaxy.
For example, you know that there is an Interstellar Union, with many planets. In the Galactic Federation of Light, there are also many planets. Since they have common science, common culture, and common art, they communicate with each other and, as a result, create common egregores. That is, these are communities that include inhabitants of different planets. Therefore, there exist egregores specifically of the Interstellar Union and the Galactic Federation of Light, which include the energies of inhabitants of different planets, but with thoughts on the same topic. And Earth is not yet part of any unions, so it only has earthly egregores, inherent to Earth itself.
2:51:11 Conclusion. Acknowledgements.
Igor: Well, dear friends, we consider our meeting concluded on this note.
Dear Osip, allow me to thank you for this invaluable experience. On behalf of everyone present here and all the viewers who will watch this conversation, I express my gratitude to you! We send you the Light of our Love!
And we thank Irina for the unique meeting that, thanks to her, we were able to experience. Thank you to the Cassiopeia project, which may continue to exist, develop, delight, and help us in our spiritual development. Thank you very much!
Irina (as Osip): Thank you! Thank you.
September 6, 2025
Conference participants:
Irina Podzorova – contactee with extraterrestrial civilizations, with subtle-material civilizations, and with the Spirit World;
Igor Lebedev – host, manager of the Bryusov Hall;
Osip (Joseph) Mandelstam – unincarnated Spirit of the poet, translator, writer of the Silver Age.
